Patternmakers 2/8/23 Patternmakers 2/8/23

Why we created the Culture Panel, and what it means for Australian culture

Why we created the Culture Panel, and what it offers.

We share the story of the Panel, and how it came to be.

In 2023, we’ve formalised the Culture Panel, as a database of Australians willing to participate in research about culture, creativity and community. It is founded on the belief that when audiences and culture organisations work together, good things happen.

How did it begin?

At Patternmakers, we’ve been working on research dedicated to culture, creative and community sectors for seven years now. In that time, we’ve heard from over 100,000 participants (crazy huh?), gathering their views, experiences and insights to help make Australian culture and communities stronger.

But it was during the pandemic that we realised there was a new way for us to be working…

Why research is valuable for audiences

In the pandemic, it really hit home that many audiences want to see arts and culture thrive in their communities. They’re willing to contribute time and complete surveys. In fact, many people get a buzz out of being asked. They like helping out - and seeing the questions that arts organisations are asking.

Feedback and input from Australian audiences helps artists, cultural organisations and community causes make better decisions. It improves people’s experiences at projects and events, it helps venues improve their accessibility, and it ensures that every Australian has access to quality cultural experiences.

Why the Culture Panel

Initially, we wanted to keep in touch with past respondents, in case further research was needed, or we wanted to dive deeper into a topic.

Our goal was to provide a way for audiences to opt-in to being contacted - and for artists and organisations to have a way to find research participants.

In 2023, we decided to formalise the Culture Panel to make research easier, more transparent and better quality for all involved.

Those who have been following our work might notice that our process for opting in now has a lot more detail, so audiences can make informed decisions about whether they want to participate.

What is it being used for?

Thousands of Australians are already participating in research through the panel, on topics like:

How cost-of-living pressures are affecting audiences attendance at events
Exhibition ideas at major cultural institutions
Barriers to audience participation in digital theatre and performance
How performing arts organisations can best connect with potential attendees.

What makes research worthwhile

We’re committed to research that adds value. We’re conscious that the way we approach research is important, and we want the experience to strengthen relationships that audiences have with artists and cultural organisations. This is why we…

Keep surveys as short and sweet as possible - ensuring that most people complete them in 10 minutes or less
Incentivise participants with generous incentives that reflect the time and expertise shared
Share the results of research with people who participated, including what changes are being made as a result of the findings
Continually strengthen our systems for data protection and privacy, and minimise storage of personally identifiable information.

Our hopes for the panel are that it provides value to both audiences and cultural organisations, improves Australian cultural research, and ultimately contributes to a more vibrant culture sector in Australia.

If you have questions or suggestions, we’d love to hear from you at info@thepatternmakers.com.au

Learn more About the Culture panel

Haven’t yet joined?

If you attend events like concerts, festivals or exhibitions, and you’re willing to participate in research once in a while, The Culture Panel is for you.

Click the button below to join, and hear about the latest research research opportunities, like surveys or focus groups. As well as the warm, fuzzy feeling of supporting the arts and the satisfaction of having your voice heard, you’ll also be in the running for some great incentives (more on that below!).

JOIN NOW

Image Credit: Missy Husband, Adelaide Fringe Festival 2023. Courtesy of Adelaide Fringe.

Patternmakers 18/7/23 Patternmakers 18/7/23

The 3 audience segments you need to know about in 2023 (and how to reach them!)

Inflationary pressures are impacting three key audience segments, Older and Bolder, Family Frugality, and Young and Restless, in different ways. Read for the insights on each, and suggestions on targeted marketing strategies to ensure no one gets left behind.

In 2023, inflationary pressures are impacting audiences in different ways, with some continuing to spend and attend and others making careful choices.

The data from our latest Pulse Check revealed that audiences are behaving differently right now in response to the current economic climate. More than ever before, this requires targeted strategies for programming, ticketing and marketing.

Read on for the key facts about three key audience segments: Older and Bolder, Family Frugality, and Young and Restless, and suggestions on what to do to ensure no one gets left behind.

Older and Bolder

Arts audiences aged 55+

After several years shaped by the virus and mask-wearing, older audiences are now enjoying higher attendance levels and spending.

As the most likely audiences to experience no barriers to attending right now, this group is open to a range of experiences and are the most likely to seek out challenging, topical works in the next 12 months.
They are spending at higher levels than they were 6 months ago. 40% spent more than $100, compared to 37% in August 2022.
8 in 10 attended a cultural event in the past fortnight, the highest rate seen in the study since it began in March 2020.
Although most see the country’s economic outlook as uncertain, they also generally believe their financial situation will be stable in the year ahead.
Email is the top way they find out about events, so consider ways to continually improve your databases and eDMs.

One such audience member told us what they’ve been attending and why, saying:

“Musicals - Mary Poppins, & Juliet and an art exhibition as well as an open-air rock concert; after COVID lockdown I think I’m more inclined to not miss out on anything.”

— Audience member

Family Frugality

Arts audiences aged 35-55 with children living at home

Rising housing costs are affecting families more than households without children, and audiences with kids at home have reduced their arts spending more than others.

Parents are more likely to cite financial barriers (56% vs 35%) and/or prioritising other things in their life (36% vs 22%) than other audiences.
High numbers are staying closer to home, looking for free/cheap things to do and taking longer to commit, as they weigh up costs for 3 or more people.
Families see the arts as important for their children – and many are prioritising it within their budget.
For Kids and Family shows, consider a pricing and promotion strategy tailored to this group (they’re the most likely group to find out about events on Facebook!).

One survey respondent commented on ticket pricing, saying:

“Over the last year we’ve been to a number of big concerts and shows but I’d seriously reconsider spending more than about $75 a ticket for anything at this point. We just saw Into the Woods at Belvoir St and adult tickets were $82 but they had a student rate of $47 which made it doable as a family.”

— Audience member

Young and Restless

Arts audiences under 35

Young people tend to have lower incomes, and are among the most affected by financial barriers right now.

Although they’re eager to get out and about, young people are attending at slightly lower levels than they did 12 months ago.
They’re facing financial barriers at twice the rate of their parents’ generations – and feel more down about their economic future.
They say other barriers are also inhibiting their attendance – such as ‘lacking energy to go out’ (36%) and ‘prioritising other things in my life’ (31%).
They’re eager to connect socially, attend fun/uplifting events and try new things they haven’t experienced before, but may need support to attend.
Some are looking with keen eyes for student or youth discounts – and ways to cover the costs of travel and eating out.

One audience member mentioned discounts and seeking more for their money, saying:

“I have been to several Melbourne International Comedy Festival acts in the last month as well as the cinema a few times. That was prioritised due to the availability of discount codes and cheaper tickets for certain nights, plus the fact that many variety shows are available where multiple acts can be seen.”

— Audience member

Summary of segments

For easy viewing, click below to download the summary of all three segments as an infographic.

summary of segments

Catch up on the data

In case you missed it, we have a suite of audience research and resources available from our April 2023 Pulse Check. Check it out below!

National Snapshot Report

Read the report for key national insights and the detailed breakdown of the three audience segments.

national snapshot

State Snapshots

Read the snapshot reports for NSW, VIC, QLD, SA and WA to discover the nuances in audience behaviour at a state-level.

State snapshots

Webinar

Watch Tandi Palmer Williams, Managing Director at Patternmakers, and Ella Huisman, Executive Director - Audience at Adelaide Fringe discuss the main findings and results from the Pulse Check.

Webinar

Case Study: Adelaide Fringe

Read our article ‘How Adelaide Fringe sold 1 million tickets in the face of rising inflation’ for the key takeaways from one of the most successful campaigns of the year.

ARTICLE

Cover Image Credit: Samuel Graves, The Garden of Unearthly Delights at Adelaide Fringe Festival 2023, courtesy of Adelaide Fringe.

Author

Melanie Raveendran
Digital Marketing Associate

Past posts on this blog:

Be in the loop

Patternmakers 23/3/23 Patternmakers 23/3/23

Evolving the Audience Outlook Monitor in 2023

The wild ride of the lockdown era is now behind us, so it’s time for a clear-eyed look at where we’ve landed. In this article, we share the topics that we’ll be researching this year, to ensure you can plan for the challenges and opportunities of the post-pandemic years.

The wild ride of the lockdown era is now behind us, so it’s time for a clear-eyed look at where we’ve landed.

In this article, I share the topics that we’ll be researching this year, to ensure you can plan for the challenges and opportunities of the post-pandemic years.

Over the past few months, our team has been out and about at performances, museums and festivals.

In Sydney alone, it’s been sensational to see the city come alive with World Pride and the excitement of a new flagship gallery Sydney Modern.

Around the country, we’ve seen record sales in the Adelaide festival season, new projects funded and of course Revive, the National Cultural Policy.

So, things have vastly improved over the past 3 years.

But not all parts of the sector are recovering at the same pace. Some concert halls remain stubbornly hard to fill, and some tours are still being cut short after cancelled shows.

In the US, forecasting by IMPACTS Experience projects that while the museum sector may reach almost back to pre-pandemic levels by the end of 2023, performing arts attendances will only reach 78% of 2019 levels.

Our own research shows that some segments in our community are behaving very differently right now. For instance:

Disabled and immunocompromised audiences are the most likely to be participating in online cultural activities (47%, compared to 39% of audiences without access needs)
Young people under 25 are participating in most types of cultural activities more than older audiences — particularly live performance (85%, compared to 75% of older audiences)
Families are more likely to be facing financial barriers at the moment (49%, compared to 38% of other audiences) – and this trend is likely to continue into 2023.

While there’s lots to celebrate, the picture is complex, and I believe it’s vital we look at where we are with clear eyes. Simply waiting for attendances to build further is not a sound strategy.

This year we will be undertaking three projects as part of the Audience Outlook Monitor. We’re delighted to be working with US agency WolfBrown for the fourth year, with support from the Australia Council for the Arts and state arts agencies around Australia.

1. Pulse Check on audiences amid cost-of-living pressures

Right now, our primary interest is the economic outlook, and how Australian audiences are responding amid cost of living pressures.

Before the autumn is out, we’ll be conducting a ‘Pulse Check’ survey of past participants to get an updated picture of their spending, and explore how arts and culture events are faring in a range of household budgets.

It will be interesting to see the segments that are continuing to spend, who is feeling pained but patient, and who is out of the market altogether.

Our sector has been through recessions before, but this situation is unique in that it comes following three years of a pandemic.

As reported in HBR, ‘The deeper and more prolonged a recession is, the greater the possibility that there will be profound transformations in consumers’ attitudes and values.’

The smartest organisations will stay flexible, strategising on the assumption of a worsening slump, but being ready to respond when the upturn comes. Past downturns suggest audiences may be likely to branch out and try a variety of new experiences once the economy improves.

Make sure you’re subscribed to our Culture Insight & Innovation Updates to hear when the insights are available.

2. Full round of the AOM, tracking audience sentiment on a wide range of topics

Alongside the Pulse Check, we’ll also begin working towards a full round of the AOM in July. Full rounds are where we execute a survey in partnership with around 100 Participating organisations nationally. In contrast with our more targeted Pulse checks, our full rounds explore a broad range of topics, from digital attendance to cultural tourism and subscriptions and memberships.

Organisations that have participated in the past will be invited to continue - and we’ll be reaching out to some new organisations to join the cohort.

This year, participating organisations will also be invited to share their situation in an optional benchmarking exercise. By anonymously sharing their attendance results, top challenges and strategies, we’re aiming to provide a stronger picture of recovery across the arts.

We’re excited to see what emerges when we combine audience data with organisation statistics - and hope it will deliver a useful resource for everyone working on audience development.

3. Pulse Check on diverse audiences

For us at Patternmakers, it’s vital that we continue reaching out to different parts of our audience and community, and we’re excited to see what we can learn this year.

Later in the year, we’ll be exploring audience sentiment in a new segment of our audience - stay tuned for that announcement soon.

Research with diverse audiences requires extra time and care, and it’s important not to shy away from challenging topics. We seek advice and input from those with lived experience to ensure our process is appropriate, accessible and ethically sound.

In 2023, I feel like it’s time to tabulate our gains and losses, take stock of everything that we have learned, and strategise for the next chapter. We have left our ‘panic stations’, and are charting a new course in calmer waters.

A lot of organisations will be forming new strategic plans, or updating old ones. It’s a good time for leaders to be recharging their batteries, thinking deeply and marshalling their resources for the next charge.

It feels like there is A LOT going on, a lot of volume returning to our plates and we are wise to pace ourselves.

I hope the research we provide will be helpful to you.

If you have any suggestions or questions for us, please don’t hesitate to get in touch with us at info@thepatternmakers.com.au

Image Credit: Nicole Reed and Michael Oulton, courtesy of ACMI.

Patternmakers 15/11/22 Patternmakers 15/11/22

6 audience trends to prepare for in 2023

Audience behaviour is shifting and it can be hard to know what to expect. Here are six audience behaviour trends to prepare for, according to the data from our October phase of the Audience Outlook Monitor.

Image Credit: Cecilia Martin, courtesy of National Circus Festival.

Audience behaviour is shifting. Here’s what’s going on - and how to make sure you’re ready.

With the release of our latest phase of the Audience Outlook Monitor, we’ve been looking at the major trends in audience behaviour and how it’s different to what we saw pre-pandemic.

If you’re involved in cultural events, you’ve probably already seen some of these trends firsthand. We’re here to tell you you’re not alone - and that these things aren’t going away any time soon. Here’s what we need to be ready for:

1. Attendance is climbing, but it may be a bit of a rollercoaster.

Half (51%) of audiences expect to attend more often in the next 12 months as they settle into post-COVID life. However, hesitation is still a big issue to contend with and 43% say their frequency of attendance will stay the same.

As shown in the chart below, there are a range of factors that will inhibit attendance over the next year. Some of these have been around for a while (risk of transmission), others are relatively new, and increasing (financial reasons).

A little while ago, we reported on this thing called ‘re-entry anxiety’ and recently, 19% of audiences told us they are simply lacking the energy to go out sometimes.

24% are prioritising other things above attending arts and cultural events, such as social events and travel - a natural response as we enjoy our regained freedom and figure out what our post-COVID world looks like.

The bottom line? We need to be clear-eyed about the targets we set for things like attendance and ticket sales. Some things are likely to go well, other things are just not, and that is just the reality.

You might like to ensure your teams and boards are across this data, and everyone is on the same page about what to expect in the year ahead.

2. Price sensitivity is increasing.

Yes, you read that chart correctly: financial limitations are now the top barrier to attendance, affecting 40% of audiences, up from 24% in August 2022. This means that they have now surpassed the risk of transmission.

Economic concerns like the rising cost of living and inflation rates are impacting most people, but some groups are likely to be more vulnerable than others, such as lower income earners. And, as you can see in the chart below, young people are almost twice as likely as audiences over 70 to report financial barriers (58% vs 30%).

Audience members have spoken to these financial limitations, saying:

‘I am now retired and money is not so easy. The cost of tickets has increased so I pick and choose less expensive shows.’

‘Cost of living constantly increasing, I'm about to go back to study, just need to be careful with my funds.’

So, should you offer discounts? Probably not. While it may seem logical to consider cutting admission prices, research from the US has shown that admission is only a small piece of the puzzle when audiences think about the costs to attend. As one audience member in our study said:

‘As I live in a more rural area, it's not just the ticket I need to purchase, it's also travel, accommodation and meals. So the cost becomes significant.’

Admission discounts often have a range of downsides - like impacting customers who have already paid full price. They also influence brand perceptions and market competition

That being said, it is important to be aware of what’s happening and think about pricing strategically. If you’re targeting young attendees in the next little while - program prices should be set carefully. Families are another group that can be extra sensitive to prices, and things like transport recommendations, cheap parking options and dining offers can go a long way.

3. Last minute decision-making is here to stay for a while longer.

August 2022 data revealed that most audience members book events within the next seven days (26%) and the next 2-3 weeks (43%). This is an ongoing trend reflective of the comfort in making last minute decisions, as people continue to struggle with commitment.

Audience members expressed this sentiment, saying:

‘I am someone who has health and energy issues so I often need to take things day by day.’

‘I like to just go to something, rock up there and pay on the day.’

‘Much preferred to booking ahead on the off-chance I will have to cancel.’

From a business perspective, it’s undeniably more difficult when we cannot rely on those early ticket sales to inform our planning for the season, creating a cashflow problem and a confidence problem.

In a recent broadcast of ABC Radio National, guests Sophie Galaise, Managing Director of the Melbourne Symphony Orchestra, and Kip Williams, Artistic Director of Sydney Theatre Company reflected on these very research findings - and shared their take:

Sophie Galaise outlined the MSO approach of offering flexible subscription and single tickets, providing audiences the opportunity to be able to attend a different date if needed.

Kip Williams stressed the elevated importance of marketing at this time, as audiences are often waiting till shows are opened and the reviews are out before buying a ticket.

So, if you haven’t already got strategies in place on how to maximise the opportunity of last-minute sales, now is very much the time.

4. Lifestyle changes are impacting preferences around attending.

1 in 5 audience members say their preferences have changed in terms of time, day or location of events – as lifestyle shifts continue to occur.

Protecting energy and convenience are shaping decisions with audience members saying:

‘I find it harder to attend events on weeknights after work. I am tired faster after the pandemic with less capacity to do multiple things in a day.’

‘I think people started to prefer staying at home to drink and socialise because of the cost and convenience. I prefer to go out after work on a Friday so I can be home for the rest of the weekend rather than going out Friday and Saturday night.’

‘I am much less inclined to attend events on weeknights now. I feel busier than ever and my weeknights have become sacred time. I prefer to attend events on weekends only.’

While some are simply out of practice, and may yet revert to old habits, some are very much here to stay. For instance, working from home is now a reality for many employees, and fewer days commuting into the city means fewer opportunities to drop into events in the CBD:

‘I have been working mostly from home and found that suited me... building energy to head into the inner city to attend events requires determination. I've made the effort when the event really sparks my interest...’

‘I now live in the country and so it is harder to go out at night in the city.’

This trend is going to impact organisations very differently. For instance, venues in outer metropolitan suburbs, and regional hotspots are likely to be seeing the upside of this. Meanwhile, events in the inner city seem to be working harder to rebuild their audiences.

It’s a good time to be testing different things, and seeing what works for your audience. Just remember: a single event doth not maketh a valid experiment. We need to set up our tests over a realistic timeframe and give it time to work. Let us know what works for you!

5. Audiences are looking for variety locally.

For now, people continue to favour their local area/region when attending arts events. Yes more cultural tourism could be on the horizon, but for now many are excited to see touring shows and want to see variety in their communities.

Regional/remote audiences particularly love attending locally – while metropolitan audiences are more keen to explore their region. Local stories are more likely to resonate with regional audiences (48%) – though there is also appetite for ‘big’ name artists (60%). Audiences have told us:

‘The pandemic has taught us that local matters. It's incredibly important to ensure we have a strong local economy, supporting local activities, buying from local people and strengthening our understanding of our local culture and history.’

‘Supporting local artists, organisations and locations is a current priority. Local events have a multitude of benefits including increased environmental sustainability and reduced hassle in terms accessing the event and these events cultivate civic pride.’

Yet, there is still the desire to expand their horizons:

‘Throughout the COVID experience, there has been a strong focus on local – which made good sense and felt right. After nearly three years of a focus on local, I am feeling a bit parochial and really keen to see and experience things that bring a new perspective. I really want to travel for art and culture but don't feel comfortable doing so yet.’

As you can see in the chart, many are keen to return to the things they love, but there is also an appetite for new (58%), uplifting (73%), or challenging cultural experiences (42%). There are a wide range of views out there, so we think that there’s an audience for almost anything.

‘Life can be short and live music and performances are what makes me happy and keeps me going. I'm going to keep attending them as much as I can.’

‘There is enough conflict and challenge in the world today – I don’t want to seek out challenging events for entertainment. I want escapism.’

'I don't need fun, uplifting things, but I do need to be intrigued, challenged and informed. I don't need big names, but I do like professionally run events.’

‘The arts are about innovation and change. we want to see hear and watch new shows, music and arts events.’

‘I like the new and the challenging and will continue to seek those productions and opportunities - with, I feel, an increasing sense of confidence in doing so.’

Basically, balanced programs are key - with enough variety to keep audiences coming back. It’s important to think about targeting different programs at different segments.

For example, as shown in the chart below, younger audiences, such as those under 35 (74%) showed the strongest interest towards trying new things, making them a key demographic to target when innovating.

6. People are happy to go with the flow when it comes to COVID-safety.

In general, cultural venues are still seen as safe in terms of mitigating the risk of transmission, with comfort at live music venues and interactive exhibits at an all-time high.

With the Summer season approaching, the relaxing of COVID-safety rules may leave some audiences nervous to attend. However, we’ve found that most people are happy to wear a mask if they are asked to (and if they are provided one).

Years of mask-wearing have made this a common practice, with one audience member saying:

‘I went to a theatre performance a couple of weeks ago where masks were mandatory, and every single audience member complied without any fuss, we get it.’

It’s worth keeping an eye on this during peak transmission times, especially if you have a vulnerable audience!

Subscribe below for updates - or get in touch with us for any questions or suggestions via info@thepatternmakers.com.au.

About the Author

Melanie Raveendran
Digital Marketing Associate

What to expect from audiences this winter

Are audiences jumping at the chance to make up for lost time or are they settling into the winter blues? Let’s find out!

Are audiences jumping at the chance to make up for lost time or are they settling into the winter blues?

Answer: Both?

We’ve been tracking audiences for some time now, and we’re gearing up for a quick Pulse Check in August 2022.

We think it’s time to get a fresh read on audience sentiment, and provide decision-makers around the country with the latest insights.

Yes, partly that’s because in most states/territories around Australia, COVID-cases are on the rise again.

But at this point in the recovery process, confidence is not just about the virus anymore. There’s a whole range of things influencing the market right now, which is why we at Patternmakers are ‘widening the lens’ for the Audience Outlook Monitor.

A major factor influencing audiences and their interactions with the arts and cultural sector is the current economic outlook.

On the one hand, things are looking pretty rosy, and in March we noted spending levels reaching new highs, as audiences flocked back to events after the long lockdowns of 2021.

In the last few months, many Australians have set their travel plans in motion, with nearly 50% having already spent money on travel this year. Out-of-home entertainment spending, such as for major sporting events, concerts, theatre, museums, zoos and theme parks, has also risen above pre-COVID levels as people are embracing a restriction-free return to normalcy.

However - there’s now a lot more competition for audiences - and not all live events are sharing equally in the upswing.

Word on the street is that outdoor festivals are thriving. In Hobart, Dark Mofo’s two-week event in June was 94% of pre-COVID heights. In NSW, Vivid Sydney 2022 set a new attendance record of 2.58 million, a 7.5% rise from 2019.

Meanwhile, ticket sales at indoor ticketed events have been patchy. Sales for the Sydney Writers Festival in May were ‘considerably down’ and many of the sold-out events ended up only being 70-80% of full capacity due to late cancellations and no-shows. Similar scenarios are unfolding at venues around the country - as audiences hesitate about booking, and then hesitate about turning up!

Social anxiety is real. And it’s about to get that little bit harder.

The cost of living is skyrocketing, with the highest inflation rate since 2001 and interest rates on the march.

As everyone empties their splurge account - the economy is looking like it ate too much at the buffet and needs a lie down.

The result is that more people will be feeling nervous, and looking to make lifestyle changes or ‘cut back’ to accommodate financial difficulties. Discretionary spending is usually the first to go as entertainment and recreation take the backseat to make room for essentials such as groceries, petrol and electricity.

And then we have the virus no-one wants to talk about.

If the tension between economic uncertainty and the desire to ‘get back to normal’ weren’t enough to give you whiplash, then the first winter of no COVID restrictions will be.

We’re now facing the third wave, but the difference this time is that we’ll have virtually no restrictions in place to limit the spread. The Chief Health Officers are nervous, and I can see why. After the election put COVID news firmly on the back-burner, few want to bring it back and Reuters reports that there’s also an epidemic of news avoidance to contend with (especially news about COVID-19).

So what does this all mean?

Audience sentiment is fluctuating - not as wildly as in the early days of the pandemic - but we should prepare ourselves for a bumpy winter - especially at ticketed seated indoor events.
COVID-19 is still affecting audience behaviour - even though no-one wants to talk about it - and the pandemic is likely to have a ‘long-tail’.
Relaxed restrictions may actually increase hesitancy among some people - as they can no longer rely on things like mask-wearing requirements at many events.
Economic factors are a big deal - and rising interest rates could start to dampen demand (in fact, the RBA will keep increasing them until it does!).
Competition in the market is going to be fierce in late 2022 and 2023, as we see a backlog of events hit the market, and some big marketing budgets are spent.

In this environment, it’s wise to manage expectations, and be strategic about where we put our efforts

Targeted programming and marketing is vital - and for my money, I think we should all be looking at the volume of activity that makes sense for the times. A regenerative approach that prioritises rest, reflection and recovery is going to put us in the best position long-term.

We’ll release new data in late August that shows how sentiment is changing, among which segments and for what kinds of events, so you can make the best possible decisions - and have evidence-based discussions with your team, board, funders, and audiences!

Subscribe below for updates - or get in touch with us for any questions or suggestions via info@thepatternmakers.com.au.

About the Author

Tandi Palmer Williams
Managing Director

Head geek and leader of Patternmakers.

Thank you to everyone who participated in 2021

A big thank you to everyone who has been involved in the study in 2021. Thanks to you - the Australian arts sector is staying informed and is able to make decisions based on a robust greater awareness of how audiences are faring.

Read more about what we’ve learned in 2022 and how the data is being used.

As we draw the study to a close for 2021, it’s time for us to say thank you to everyone who participated.

This year, 130 arts and culture organisations around Australia joined forces to survey audiences in a coordinated way. The response has been phenomenal - from audiences, organisations, the media and our supporting partners.

Tens of thousands of respondents shared their views, providing a rich picture of the different perspectives out there. This information is vital in helping the arts sector recover from the pandemic and welcome back audiences in the best way possible.

The data helps refine COVID-safety strategies, guide programming decisions, and helps organisations respond to audience needs and interest. It represents a critical tool in the recovery process.

A big thank you to everyone who has been involved. Thanks to you - the Australian arts sector is staying informed and is able to make decisions based on a robust greater awareness of how audiences are faring.

Every single response is vital and from all of us at Patternmakers and WolfBrown who lead this study - we so appreciate your time and effort.

If you’d like to catch up on the findings from the latest round of data collection, you can scroll down to read the highlights. We’ve also included a selection of feedback from those who are using the data.

You can also join our database of audience members who are open to participating in research in future (read more). Please take care and have a restful break. We’ll look forward to connecting in 2022!

Thank you to those who have shared their feedback with us this year!

Here’s a small selection of some of the feedback we’ve received. If you have feedback to share - positive or negative - please get in touch with our team at info@thepatternmakers.com.au

The research gives such tangible pathways to connect with people deeply.

— Collette Brennan, CEO Abbotsford Convent

The scale of this collaboration makes it one of the most innovative research partnerships ever seen in this field. Aggregating data in this way is mutually beneficial for all parties and gives us an accurate and timely read on audience sentiment – exactly the kind of thinking needed to fuel innovation and realise more of the benefits of arts and creativity for our society during the pandemic.

— Rebecca Mostyn, Director of Research and Knowledge Management, Australia Council

“Your findings and reports are constantly being cited in communications between all levels of government and sector advocacy groups. Speaks highly of your approach and the value to us of having such a strong evidence base to work from.”

— Donna Mayhew, Arts SA

The findings have been reported in a wide range of Australian media outlets

Thank you to the journalists and publications for their reporting. Thanks to you the findings reach a large audience and can help inform public debate.

Audiences are cautiously optimistic as summer approaches, but many uncertainties remain

In November 2021, data from 7,637 past attendees suggests that confidence levels are in a state of flux, as restrictions change around the country.

Compared to the mid-year results, audiences are less likely to be inhibited from attending cultural events by the risk of lockdowns (now 38%) and more likely to be concerned with risks of transmission (51%) or being a close contact (43%).

Confidence in the outbreak-affected states is beginning to recover as lockdowns end and audiences grow accustomed to ‘living with the virus’. 50% say they are ‘ready to attend’, however only 29% have done so in practice, suggesting it will take time to rebuild attendance activity in all areas.

Across the rest of Australia, recent attendance rates are high (74%) though some are anxious about the virus circulating once border restrictions are lifted. Comfort levels could drop slightly in these areas as travel resumes.

With COVID cases trending downwards in late October and early November, most audience members appear cautiously optimistic about attending over summer. 7 in 10 (67%) audience members in the outbreak-affected states/territories of NSW, VIC and ACT have recently made plans to attend a cultural event of some kind. This rises to 8 in 10 audience members (82%) in the rest of the country.

Download the Snapshot Report or live attendance infographic or read on for more of the findings.

If you would like to request the National Report in an accessible format, please email info@thepatternmakers.com.au.

COVID-safety remains paramount, with vaccine passports being top of mind

The results confirm that COVID-safety measures will play a pivotal role in rebuilding attendances, especially at indoor venues, while audiences across Australia grow used to living with the virus.

Audiences continue to be encouraged to attend cultural venues by the presence of safety measures such as check-ins (85%) and proof of vaccination at entry (79%).
In fact, some measures would need to be in place for a majority of audiences to attend. Nationally over half won’t attend many spaces unless proof of vaccination is required, including large theatres and concert halls (63%) and outdoor events (58%).
Audiences in outbreak-affected states are relying on COVID-safety measures more so than those in the rest of Australia – particularly in VIC where the rates of transmission are currently highest.
Audiences in the rest of Australia are slightly more neutral about some safety measures, though this could change once domestic and international borders open, if case numbers increase in those jurisdictions.
As we move towards a scenario of open borders and 90%+ vaccination rates nationally, the proportion who are ‘very comfortable’ to attend will stabilise nationally around 56% for large theatres/concert halls, 62% for museums/galleries and 69% for outdoor venues with fixed seating.

Digital participation has begun to climb again, as cultural organisations grow more proficient with engaging audiences online

After several quarters of declining online participation, digital engagement has increased slightly for all audiences – from 44% in July 2021 to 48% in November 2021.
Audiences in outbreak-affected states are more likely to be participating online (53%) compared to those in the rest of Australia (42%), however participation rates have increased in all jurisdictions.
One form of participation that stands out is online courses and tutorials, with 25% of audiences participating recently (up from 19% in July).
Despite reports of ‘Zoom overload’ by some, overall audiences are now more likely to see a role for digital arts experiences in their lives outside of lockdown (73%) compared to July 2021 (52%).
Audiences can be divided into three groups for the purposes of marketing digital arts experiences: ‘digital devotees,’ the 24% of audiences who see a substantial role for digital in their lives, ‘selective but supportive’ audiences, the 49% who see a small role, and ‘tired of tech’ audiences, the 27% of audiences who see no role at all outside of lockdown.
Many audiences support hybrid models that offer greater flexibility and accessibility as we transition to a ‘COVID-normal’ Australia. When asked if they would attend a digital program in place of a cancelled live event, 33% nationally said they would be likely to attend. This rate increases among disabled audiences (44%) and audiences in outbreak-affected states (36%).
It is clear that digital marketing and online experiences are playing a key role in keeping audiences engaged with arts organisations as uncertainty continues.

Download the online participation infographic.

Local loyalty is on the rise as audiences look for low-risk ways to support the arts

As confidence builds, there are positive signs for audience loyalty programs, with 44% indicating they are at least somewhat likely to purchase a subscription or membership in 2022, compared to the 40% who subscribed in 2021.

As people weigh up the risks of attending, 78% of audiences agree that they’ll be attracted to events in their local area over the next year.

An increasing number of audiences say they will be interested in ‘light-hearted programs’ (44%, up from 34% in July) – with some seeking escapism and uplift after the cumulative impacts of the pandemic.

Use the dashboard to get results for your artform and region

Survey data from over 7,637 respondents has been uploaded to the dashboard, which now contains insights from over 80,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

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.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

Subscribers to our regular Culture Insight & Innovation Updates will need to update their preferences to receive all updates about the Audience Outlook Monitor. Just enter your email below and follow the instructions provided.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

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.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 2/11/21 Patternmakers 2/11/21

Join the Culture Panel

The Culture Panel makes it easier for arts organisations to gather useful data from audiences when they need to.

It’s an easy way for you to offer support to organisations that need your help!

Will you join Australia’s network of audiences dedicated to culture, creativity and community research?

If you’re willing to participate in research once in a while, The Culture Panel is for you.

JOIN NOW

FAQ

How often do I need to be available?

We’ll never contact you more than once a month. You can participate as much or as little as you like. You can also opt-out at any time.

Who runs The Culture Panel and who is it for?

The Culture Panel is administered by Patternmakers on behalf of Australian arts, culture and community organisations. It is used in Australia for studies such as the Audience Outlook Monitor ‘Pulse Check’ research.

It’s also used for research about new ideas and concepts for arts, culture and community experiences.

What are the benefits to me?

Support good causes that are doing good work in communities across Australia
Ensure culture and community organisations make the right decisions for the public
Hear about the latest programs and innovations in the arts and culture sector
Access benefits and incentives (see more below).

Am I eligible?

To join The Culture panel, you must have attended a cultural venue or event in the past 3 years.
Cultural venues and events include museums, galleries, festivals, performing arts events, art classes, community development projects and artist talks
You must be 16 years or over
You must reside in Australia.

What’s involved exactly?

When you join, you’re invited to provide your email address, identify which state/territory you live in and let us know your age range so we can send you opportunties that are right for you
From time to time (no more than once a month) you may be sent an email invitation to participate in research, such as surveys and focus groups
When you receive an invitation, you can decide whether to participate or not
At any time, you can click ‘unsubscribe’ at the bottom of any email to leave the panel.

What kind of incentives are offered?

The incentives vary from project to project. For short surveys, you may be invited to enter a prize draw, for the chance to win a gift voucher. For participating in a focus group or interview, we usually offer all participants a cash-equivalent incentive (around $1 per minute). Read more about our incentive policy here.

Who has access to the database?

This Culture Panel is maintained by research agency Patternmakers Pty Ltd, on behalf of cultural organisations.
It exists solely for research in the public interest, on topics related to culture, creativity and community.
It is used for studies such as the Audience Outlook Monitor Pulse Check research.
Participant email addresses will only be used for research invitation emails.
The database is administered via Brevo (EU) and all personal data is stored in line with Patternmakers Privacy Policy.

What kinds of projects will I be invited to participate in?

The Culture Panel is used for national audience studies such as the Audience Outlook Monitor Pulse Check research – which started during the pandemic and has continued as a nationwide study on audience sentiment.

We also approach Panel members to complete short surveys or participate in focus groups helping arts organisations design future exhibitions, programs or marketing campaigns.

How can I find out more?

For any questions, please contact our team on info@thepatternmakers.com.au.

Good causes rely on good data. Join The Culture Panel and start sharing your views on Australian art, culture and community life.

JOIN NOW

Image Credit: Samuel Graves, Adelaide Fringe Festival 2023. Courtesy of Adelaide Fringe.

Example past projects

Featured

Visitor Research for ACMI

Patternmakers is working with ACMI to provide insight into visitor motivations, behaviour and barriers.

Audience Outlook Monitor — 2023

Patternmakers leads a major tracking study of audiences in partnership with US research agency WolfBrown.

Audience Research for the Australian Chamber Orchestra

Patternmakers is working with Australian Chamber Orchestra (ACO) to inform a community focussed and diversified audience development strategy.

Patternmakers 18/2/21 Patternmakers 18/2/21

Tracking audience sentiment in 2021: a brave new era in arts & culture

As the culture sector stares down a challenging year, we are pleased we can announce a further three phases of the Audience Outlook Monitor in Australia. We're keen to track how vaccination affects demand for live events and dig more into the factors influencing donations and spending on tickets. It's going to be a big year!

As the culture sector stares down a challenging year (as one colleague said, likely the second worst year ever!), we're pleased to announce an extension of the Audience Outlook Monitor in Australia. Three more phases of data collection are planned in 2021 to help shine a light on audiences in a time of enormous uncertainty.

In March, July and November, we'll be working with our international research partner WolfBrown and local partners across the country to gather data about audience attitudes and behaviours, and how they're changing over time. The research tracks indicators like attendance, ticket buying and spending, and measures things like comfort at different types of venues and confidence in different safety measures.

It's thanks to ongoing support from the Australia Council for the Arts and state governments around Australia that we're able to do this in a cost-effective and coordinated way. Instead of working with a handful of clients who can afford consultants, this work is enabling 150+ arts organisations to adopt a consistent approach to surveying their audiences. This means audiences are spared from multiple surveys about the same thing, and that we can compare and contrast sentiment in different artforms, audience segments and jurisdictions.

And perhaps most importantly, that the results can be shared publicly for everyone and anyone to use. From independent artists to the Ministers for the Arts, our goal is to ensure that everyone working on our recovery has consistent, accurate and timely insight about audience demand, barriers to attendance and projected behaviour.

Why extend the study?

When we first set up the Audience Outlook Monitor, we thought the pandemic would last six months, if that. We now know better.

While creative activity has resumed in many venues across Australia, we are dealing with sporadic outbreaks and regular changes in restrictions. International travel is unlikely until later this year, at the earliest. Not all local audiences have returned to events, with some saying they are waiting for a vaccine and others opting to simply 'wait and see' before they invest in tickets or plan social outings.

Australia's vaccine roll-out is due to commence in late February, with an aim to vaccinate the adult population by October. However research from UNSW (covered in The Conversation) has cast doubts on that timeframe, and indicated it could push out into 2022.

The economic outlook is also uncertain and if past history of economic shocks is anything to go by, it will take time to rebuild the market.

Colleagues in the sector have described challenges such as 'Managing consistently changing circumstances and ongoing rescheduling of shows.' and 'Ensuring appropriate patron behaviour in venues without impeding on the customer experience.' Another said they are facing 'Increased costs of ensuring audience safety, impacts on our team, decreased audiences and increased output for both digital and physical.'

With decision-makers continuing to face tough decisions about investment, programming and operations, it's important that we never lack accurate and timely information from audiences. We've planned to produce regular updates and snapshots throughout the remainder of 2021 - and we're looking at ways we can do this longer-term, if needed.

We believe ongoing data-informed decision making and strategic support will play an important role in the sector’s recovery from the pandemic and ultimately will help rebuild arts participation in Australia.

How will the study change in 2021?

We'll continue to track key measures like the % of audiences who have attended a cultural venue or event in the past fortnight - and how much audiences are spending on tickets. But we'll also be probing new areas, so that we can provide insights on:

Proportion of audiences that are likely to be vaccinated and when
Top three things preventing audiences from attending more events
What digital experiences are attracting ongoing engagement
Willingness of audiences to travel to regional areas or interstate to attend a cultural venue or event.

When will the results be available?

The next national snapshot of data will be released in mid-March 2021, and state/territory reporting soon thereafter. We'll also be releasing fact sheets monthly on topics like digital inclusion and First Nations culture.

In March, we'll be taking a closer look at audience donations and support for arts causes, as the sector builds up to end-of-financial-year campaign season. In July, we're aiming to capture insight at the start of the cold & flu season, when cases could potentially spike once more. And in November, we'll provide a read on audience sentiment for the summer festival season.

How can I use the data?

Through engagement points like regular webinars, snapshot reports and fact sheets, we're aiming to turn the data into practical insights and highlight how they can be applied.

You can use this data for decisions like what events to program where and when, and what safety measures to put in place. You can use it to kick-off strategic planning meetings, brief front-of-house staff and prepare board reports. And it's proven to be really powerful in communicating with audiences and allaying concerns about venue safety: crafting copy for social media posts, EDMs and ticketing pages.

One colleague described the study as their 'anchor for audience sentiment' in 2020 and we hope that it will continue to be a useful resource in 2021.

To receive updates directly to your inbox, as soon as they are available, you can head to the study's Australian homepage and subscribe. And if you have any suggestions about how we can continue making this work stronger and more useful - I'd love to hear from you in the comments or by email at info@thepatternmakers.com.au.

Let's do this!

Image: Mika Baumeister via Unsplash

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.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 30/6/20 Patternmakers 30/6/20

Highlights from Phase 1 of the Audience Outlook Monitor

In this post Tandi shares what we learned in Phase 1, how it’s being used, and what will be different in Phase 2.

In May 2020, 22% of past attendees were ready to attend as soon as permitted. It’s time to see how this has changed.

Initial findings of the Audience Outlook Monitor were released on 18 May 2020, confirming that we have cause to be optimistic about long-term recovery, while needing to prepare ourselves for the enormous challenges, and opportunities, ahead.

Thanks to the involvement of six government agencies and 159 Australian arts and cultural organisations, we heard from 23,000 audience members in Phase 1. We know an enormous amount about what they’ve been doing in isolation, and how they feel about attending again when venues re-open.

The data showed that 22% were ready to start attending again as soon as permitted, but also signalled how the arts and culture sector needs to change and adapt to a very different set of conditions in the short, medium and long-term.

Two months on, venues around the country are starting to re-open. Restrictions in many places are lifting, while some jurisdictions are dealing with a new wave of infections in the community. Some people are starting to resume ‘normal life’, while others remain at home, extremely cautious about what lies ahead.

It’s now time to quantify how behaviour is changing and get a new read on audience sentiment. But before we do that, I wanted to share an update on the project, including what we learned in Phase 1, how it is being used and what we’re planning for Phase 2. I’m also keen to hear your feedback and ideas, so we can continue improving this resource for all involved.

What did we learn?

Each week, we’ve undertaken detailed analysis into key topics and audience segments. We’ve published a series of Fact Sheets and worked with the Australia Council on a webinar series to discuss the findings with experts and industry representatives.

Looking back, what stands out most to me are these insights.

The key to recovery lies in understanding past attendance

We now know that above all else, past attendance patterns are the most important predictor of future attendance, and of a whole range of sentiments towards arts and culture organisations in general.

What this means: Segmenting our audience databases by attendance frequency is critical if we are to deliver relevant communications, content, offers and ‘asks’ in this environment. One size does not fit all and won’t get us on the fastest road to recovery.

Digital distribution is now about access

Digital technology is enabling more people to access a broader range of arts and cultural experiences than they otherwise would in the physical world. Online discovery is connecting new people with new works and there is cause to believe that the pandemic is heralding one of the most exciting periods of audience development of our time.

What this means: Building digital innovation and content marketing skills are critical for us to capitalise on the opportunities and challenges ahead. These capacities are under-developed in many areas and investment is needed.

We need to get serious about social distancing

Most past attendees are comfortable to start re-attending museums, galleries and community art spaces, but social distancing is key to welcoming back the broadest possible audience as soon and as safely as possible.

What this means: Museums (and other venues re-opening first) need to be both vigilant and exuberant as they re-open and (no pressure!) have a critical role to play in rebuilding trust with cultural events of all kinds.

Financial impacts could outlast the virus

There are mixed views about attending performances, mainly due to challenges of social distancing and crowds in confined spaces. While some are eager to return, many say they will ‘wait and see’.

With 38% of past attendees experiencing the financial impacts of the pandemic, we should prepare for an extended period of suppressed sales. Audiences are particularly cautious about making big commitments and travel plans right now.

What this means: We need to find new ways to manage risk, experiment with refund policies and seek new approaches to insuring events.

It’s time to leverage goodwill

Many past attendees are increasingly conscious of the need to support arts and cultural organisations, but some feel as though they’re not in a position to donate at this time. Fundraising is likely to be affected this financial year and next, but in light of the pandemic there is a lot of goodwill for the arts in the wider community.

What this means: If we can create ways for people to show their support via non-financial means, it will help grow our sector’s support base long-term.

First Nations arts experiences are going digital

First Nations respondents and audiences for First Nations work are among the most engaged segment of all arts and culture audiences, are highly engaged online and want to return sooner. Audiences for First Nations work are more likely to pay for digital experiences, and are paying more.

What this means: Investing in high quality First Nations arts experiences and partnerships could help grow this market and have wider benefits for Australian cultural life.

To read more about the insights from Phase 1, browse the Fact Sheets and webinars via the study homepage.

How is the data being used?

Since launching on 19 May, 10,200 people have visited this website to access the research and over 18,000 reports have been accessed within the dashboard, far exceeding our expectations.

The Audience Outlook Monitor has helped us all tune into audience needs and interests during this time and it is supporting us to make the best possible decisions in difficult conditions.

We’ve heard from many culture professionals about what they’ve found in the dashboard, and how it’s helping them firm up plans for the future. In government agencies too, the data is helping with projections, strategy and support.

On a personal level, having worked in research roles in the cultural sector for over 10 years, it’s made me realise how far we’ve come as an industry. Evidence-based decision-making is flourishing in all parts of the sector, and there’s increasing appetite for research to inform strategic planning.

What’s planned for Phase 2?

The Audience Outlook Monitor is first and foremost a tracking study. This means we ask the same questions at different intervals, to build time-series data and understand how attitudes and behaviours are shifting over time.

So, we will ask a range of key questions in an identical way, using a consistent methodology. This means that the same 159 organisations will participate in all phases of research, inviting a different random sample of their audience to participate each time.

Having said that, we will ‘retire’ some parts of the Phase 1 survey. There are some topics that we now understand deeply and don’t need to collect further data on. Wherever possible, we want to minimise the burden on respondents, keeping the survey as short as possible.

We will also introduce a small number of new questions. We want to obtain a more detailed understanding of audience attitudes towards different social distancing arrangements. We also want to understand the financial impacts of the pandemic more deeply.

Participating organisations will be contacted in early July to start planning for data collection.

Background of the Audience Outlook Monitor

In Australia, the Audience Outlook Monitor is a three-phase study tracking how audiences feel about returning to events in the context of the COVID-19 pandemic.

Phase 1 data was collected between 6 and 14 May 2020, forming a baseline against which changes are being tracked. Data is being collected from audiences again in July and September 2020, as restrictions are lifted on the number of people allowed to gather for cultural events.

Six government agencies are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource.

A dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions about re-opening.

How to find out more

To receive updates directly into your inbox, as soon as they are available, you can opt in to receive Audience Outlook Monitor news below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

Subscribe for updates

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.

Delivery partners

Supporting partners

Past posts on this blog

Patternmakers 6/4/20 Patternmakers 6/4/20

Announcing new research on audience sentiment in the era of COVID-19

We’re pleased to announce that Patternmakers and WolfBrown will be conducting new research to support the arts and culture sector with robust and responsive intelligence to inform critical decision-making and planning over the coming months.

In this post, we share what this research is about, the topics it will be exploring, who it’s designed for, and ways to get involved.

We’re grateful for the support of the Australia Council for the Arts, Creative Victoria, Create NSW, Arts Queensland, and other partners to be announced.

The COVID-19 pandemic has meant the closure and cancellation of every arts event in the country. It’s critical that artists and cultural organisations can access insight to help them plan ahead.

Not least among the challenges is the extreme uncertainty that we are dealing with, and how much things are likely to change in the coming months.

I’m pleased to announce that Patternmakers and WolfBrown will be conducting new research to support the sector with robust and responsive intelligence to inform critical decision-making and planning over the coming months.

We’re grateful for the support of our partners the Australia Council for the Arts, Creative Victoria, Arts Queensland and other agencies soon to be announced. Below you can read more about this work and how to get involved.

What is this about?

The purpose of the study is to understand audience attitudes and track behaviours associated with participation in arts and culture in Australia amid the COVID-19 pandemic.

Data collected through this study will provide a robust evidence base and identify opportunities for the sector to address the implications of the pandemic. By providing community insights for programming, marketing, fundraising and operations, this work aims to ensure the sector can adapt and recover following the worst of the health crisis.

We believe that this insight will form a key component to the sector’s recovery from this crisis and support the future of arts participation in Australia.

What topics will you be exploring?

A preliminary list of research topics for the study includes:

Changing participation in live events in arts venues, public spaces, and museums and galleries, and associated activities like eating out and using public transport
Interest and intent to participate in the future, including confidence and trust in institutions, and conditions under which people will feel comfortable returning to arts events
Feedback on actions by arts institutions about COVID-19, including customer service, donations and credit approaches for cancelled arts programs
Participation and level of interest in virtual arts experiences, such as live streaming of performances, virtual exhibitions and arts apps – whether paid, free, or by donation
How the above vary according to personal and household characteristics, including age, gender, location, household type, income level, education, work status and attitudinal outlook.

In the coming days and weeks, we’ll be asking arts professionals to share their ideas and give their input into the research design.

Why is this needed now?

We’re setting this study up now, so we can track how things change over time.

According to the leader of the study, Alan Brown, ‘Right now, everything depends on the epidemiological progression of the virus, and the regulations put in place to keep the public safe and to minimise health risks. At some point in the future, mandatory closures will be lifted, but this doesn’t mean that audiences will be ready to return.

There is expectation that some younger audiences might be willing to re-enter the marketplace for cultural programs earlier, while older audiences might not be ready to go out again for some time.

We believe that now is the time to start reliable stream of data collection around audience attitudes and likelihood to attend the arts now and in the future.’

Why a tracking study?

With a baseline of data, we’ll be able to observe changes when they occur, and be able to identify opportunities for the resumption of programming based on a reliable picture of likely demand. We believe rigorous data collection will empower artists, arts organisations and government to make informed decisions in a highly uncertain environment.

Understandably, the sector is intensely focused on managing costs whilst keeping audiences engaged. But the financial risks will also be present on the upside of the recovery, when decisions about gearing up staff, and committing to venues, bookings and artist guarantees must be made.

How did this come about?

In response to the health crisis, WolfBrown is spearheading an international effort to monitor audiences’ readiness to plan visits to arts and cultural programs, with the goal of bringing high quality data to the sector’s decision-making about when and how it is time to resume programming.

Patternmakers will be leading the Australian deployment of the study, with support from government agencies around Australia.

Additional partners are expected to join the study in the coming weeks.

How will it work?

This study will consist of a longitudinal tracking study with multiple waves of data collection over the coming months.

Working through national and State-based funding bodies, cohorts of participating organisations will be invited to deploy an online survey to samples of their audiences.

The survey will be administered online, so that the sector can quickly gather and have access to results in real-time. The data will also be made available in an online dashboard tool, administered by WolfBrown. This will enable users to filter the results to find out how relevant audience segments are responding.

Aggregate results will be summarised in a series of Snapshot Reports and disseminated regularly through partners’ communications channels.

Where can I go for further information?

To be the first to hear of future announcements about the study, subscribe to Patternmakers’ Culture Insight & Innovation Updates (please type your email in at the bottom of this page to sign up).

If you would like to understand how your organisation can be involved, please contact us at info@thepatternmakers.com.au.

Image credit: Photo by Antenna on Unsplash

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.

Delivery partners

Supporting partners

How did it begin?

Why research is valuable for audiences

Why the Culture Panel

What is it being used for?

What makes research worthwhile

Haven’t yet joined?

In 2023, inflationary pressures are impacting audiences in different ways, with some continuing to spend and attend and others making careful choices.

Older and Bolder

Family Frugality

Young and Restless

Summary of segments

Catch up on the data

National Snapshot Report

State Snapshots

Webinar

Case Study: Adelaide Fringe

Author

Past posts on this blog:

Be in the loop

The wild ride of the lockdown era is now behind us, so it’s time for a clear-eyed look at where we’ve landed.

1. Pulse Check on audiences amid cost-of-living pressures

2. Full round of the AOM, tracking audience sentiment on a wide range of topics

3. Pulse Check on diverse audiences

Audience behaviour is shifting. Here’s what’s going on - and how to make sure you’re ready.

1. Attendance is climbing, but it may be a bit of a rollercoaster.

2. Price sensitivity is increasing.

3. Last minute decision-making is here to stay for a while longer.

4. Lifestyle changes are impacting preferences around attending.

5. Audiences are looking for variety locally.

6. People are happy to go with the flow when it comes to COVID-safety.

About the Author

Categories

Are audiences jumping at the chance to make up for lost time or are they settling into the winter blues?

A major factor influencing audiences and their interactions with the arts and cultural sector is the current economic outlook.

However - there’s now a lot more competition for audiences - and not all live events are sharing equally in the upswing.

The cost of living is skyrocketing, with the highest inflation rate since 2001 and interest rates on the march.

And then we have the virus no-one wants to talk about.

So what does this all mean?

In this environment, it’s wise to manage expectations, and be strategic about where we put our efforts

About the Author

Categories

As we draw the study to a close for 2021, it’s time for us to say thank you to everyone who participated.

Thank you to those who have shared their feedback with us this year!

The findings have been reported in a wide range of Australian media outlets

Audiences are cautiously optimistic as summer approaches, but many uncertainties remain

COVID-safety remains paramount, with vaccine passports being top of mind

Digital participation has begun to climb again, as cultural organisations grow more proficient with engaging audiences online

Local loyalty is on the rise as audiences look for low-risk ways to support the arts

Use the dashboard to get results for your artform and region

About the Audience Outlook Monitor

How to find out more

Subscribe for updates

About the Author

Past posts on this blog

Will you join Australia’s network of audiences dedicated to culture, creativity and community research?

FAQ

Example past projects

Why extend the study?

How will the study change in 2021?

When will the results be available?

How can I use the data?

About the Author

Past posts on this blog

In May 2020, 22% of past attendees were ready to attend as soon as permitted. It’s time to see how this has changed.

What did we learn?

The key to recovery lies in understanding past attendance

Digital distribution is now about access

We need to get serious about social distancing

Financial impacts could outlast the virus

It’s time to leverage goodwill

First Nations arts experiences are going digital

How is the data being used?

What’s planned for Phase 2?

Background of the Audience Outlook Monitor

How to find out more

Subscribe for updates

About the Author

Past posts on this blog

The COVID-19 pandemic has meant the closure and cancellation of every arts event in the country. It’s critical that artists and cultural organisations can access insight to help them plan ahead.

What is this about?