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How the pandemic has changed audience accessibility

Download the Access Report to find out more about how the state of access in our sector has changed, case studies to demonstrate the data through lived experience, and resources and tips to prioritise the access needs of audiences.

Attendance by audiences with access needs is recovering – but at a slower rate than average

In our latest Audience Outlook Monitor publication, we take a look at the attendance insights and barriers for audiences affected by access issues, including the return of crowds, the cost of living crisis and the success and sustainability of digital events.

Click the images below to download a PDF of the full report and an infographic of the key facts:

 

The findings are also available in the following accessible versions:

Read on for the key insights:

  • Attendance levels among audiences with access needs have fluctuated during the pandemic. Data from October 2022 shows that 7 in 10 (69%) disabled audience members attended a cultural event recently – more than three times the level seen in July 2020 (19%). However, these attendance levels are increasing at a slower rate than average.

  • The fact that arts spaces, including museums, have been less busy has offered some disabled and immunocompromised audiences improved access to cultural activities at certain points in the pandemic.

  • The availability of digital events dramatically improved access for some segments. In October, 47% said they participated online recently, compared to 39% of those without access needs, though some note a dramatic reduction in the availability of online events.

  • Attendance has yet to return to pre-pandemic levels – and may take longer than audiences without access needs. 6 in 10 (58%) audiences with access needs are attending performing arts less than they used to, pre-pandemic, compared to 41% of audiences without access needs.

  • This report highlights insights from the Audience Outlook Monitor surveys, along with four case studies of audiences with access needs. They show that access needs continue to vary widely – and that more work is needed to address continuing and new barriers. 

Audiences with access needs are changing their behaviour and require updated strategies

  • While in general disabled audiences are more likely to face barriers to attending cultural events, the pandemic has led to new and heightened access needs. 26% of audiences surveyed identify as being disabled (10%) or immuno-compromised themselves (10%), or close to someone who is (9%), showing the impact of these issues.

  • There are signs that more people may be experiencing access challenges due to factors such as long COVID, reduced energy levels and re-entry anxiety.

  • Audiences with access needs are twice as likely to say their scheduling preferences have changed in light of the pandemic . 1 in 3 (32%) say there has been a change in the time, day or location of events, compared to 17% of audiences without access needs.

  • Some audiences say that they’re now more likely to attend during the daytime and/or weekdays to avoid crowded times or places, minimise fatigue, and consider the availability of public transport when planning their attendance.

  • Financial pressures disproportionally affect audiences with access needs. The proportion citing financial reasons as a barrier to attendance is larger among audiences with access needs (49%), compared to those without (39%).

  • Although digital events can help to overcome barriers to live attendance, their availability is changing, and they are not for everyone. 75% of audiences with access needs see a role for digital events in their lives, but many are eager for opportunities to reconnect with the arts in-person, especially after times of isolation.

The pandemic has shown it’s possible to challenge the status quo to make the arts more accessible

  • In some senses, the pandemic made the needs and experiences of people with disability more visible. Collective harm minimisation strategies, like lockdowns, encouraged the public to consider the needs of immunocompromised individuals and those at risk of serious health outcomes from COVID-19.

  • There are signs that work by d/Deaf and disabled artists and disability activists is contributing to a greater cultural awareness of disability and organisational capacity for access. Deaf artist Sue Jo Wright suggests even the presence of Auslan Interpreters at daily press conferences during lockdowns helped bring more exposure to the d/Deaf community.

  • After being advocated for by people with disability for many years, the livestreaming of arts events became a central part of cultural life during lockdowns – although there’s still work to be done to find sustainable models for digital events.

  • Some people with disability will be limited in their ability to participate in public life while the virus continues to circulate, and the arts has an essential role to play in maintaining social connection and reflecting these experiences.

  • The pandemic showed us that it’s possible to reorganise existing social practices for the collective good, especially where accessibility is concerned. Vital conversations, led by people with disability, have taken place – and the lessons learned mean the sector is better-equipped to take action to ensure the arts are accessible and inclusive.

  • There is an opportunity to review and update Disability Action Plans to capitalise on what has been learned and explore new strategies.

This report also includes four case studies to augment data with lived experience

A series of structured qualitative interviews were undertaken with audience members who identify as d/Deaf or disabled. Hearing from people with lived experience of inaccessibility highlights some of the challenges and opportunities for the arts and culture sector.

Opportunities exist for improving access on-site, online and organisationally

Together, the Audience Outlook Monitor and case study research reveal some practical suggestions that are relevant at this time:

On-site

  • Provide as much information as possible, ahead of events, whether it’s about venue accessibility, COVID-safety measures or ticketing policies, or the performance or venue itself. Providing information up-front about what to expect will help individuals with access needs plan their attendance on-site.

  • Check whether all Front of House staff have received Disability Awareness Training, and/or appoint a dedicated roving staff member before, during and after live events to proactively offer support. As we return to in-person events, it’s important to recognise that encountering untrained staff can have an emotional toll for audiences with disability.

  • With the use of QR codes becoming commonplace during the pandemic, venues might think about using this technology to offer alternative options for ordering food and drink, audio descriptions or Auslan interpretation.

  • Restore and increase sensory-friendly options such as relaxed performances, noise-cancelling headphones and quiet spaces to ensure audiences with sensory needs are able to fully participate. Tactile experiences weren’t possible during some stages, but most audiences say it’s now time to offer these again.

  • Review seating options as attendance numbers increase. Find ways to make seating available in most spaces of the event or venue – such as foyers and queuing areas – as well as performance and exhibition spaces. In addition to audiences with mobility needs, 30% of audiences say they need seating to enjoy attending.

Online

Websites:

  • When welcoming disabled audiences back, look into having a dedicated accessibility page on your website, so that audiences with access needs can simply and easily find the information they need. This avoids placing the ‘burden of asking’ on audiences with access needs and demonstrates a commitment to inclusivity.

Digital productions:

  • Now that in-person events have returned to a regular schedule, continue investing in digital work that is sustainable for your organisation. The pandemic taught us that digital events play a vital role in accessibility and overcoming barriers to participating in cultural experiences – and many want them to continue.

  • Hybrid events are one option, but sometimes digital attendees can feel sidelined compared to in-person attendees. Consider digital-only events, or appointing a digital facilitator to ensure people tuning in from home are given the opportunity to engage with performers/speakers and ask questions during Q&A’s.

Marketing/communications:

  • Use inclusive language and accessible formats in digital advertising, communications and booking systems to let potential attendees know that an event or venue is accessible to all. This includes Plain English resources or Auslan interpretation, audio descriptions, image descriptions and alternative text.

Organisationally

  • As we look to the next chapter, the conversation about accessibility is evolving. Consider reviewing and updating your Disability Inclusion Action Plan to address the heightened needs of audiences with access requirements.

  • Incorporate accessibility early, for example when planning and decision-making. Add an accessibility line to your budget templates and develop a checklist for accessibility considerations when conducting important tasks like selecting venues, programming and commissioning works, advertising opportunities, launching major marketing campaigns and ticketing major events.

  • Involve disabled and immunocompromised people in the planning process of your major programs and projects. This can assist in fostering allyship and creating opportunities for people without access needs to collaborate with disabled and immunocompromised people on access strategies.

  • With cost of living pressures disproportionately affecting disabled audiences, explore revenue models that address financial barriers such as subsidised ticketing policies, accessibility funds supported through grants, donations or fundraising, or partnering with advocacy groups and support networks.

Further resources

Below is a list of additional resources, with guidance on improving accessibility for audiences.

 

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 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.

Data was collected in six phases throughout 2020-2022. A new approach will be taken in 2023.

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.

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

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Bianca Mulet
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The Power of Youth Arts

In 2022, the Patternmakers team has been working in collaboration with the Australian Theatre for Young People on a new research resource about the power of youth arts. Find out what we know about young people and the arts, as supported by the research literature. Download the research guide for the full story.

What the research tells us about the benefits of performing arts participation for children and young people.

Image Credit: Tracey Schramm, courtesy of ATYP.

What do we know?

  • As human beings we are drawn to arts and culture - for entertainment, fun, and vibrancy in our lives.

  • But there is growing body of evidence indicating that arts have powerful health, social and educational benefits – for individuals, communities and our society as a whole.

  • The research shows there are important applications across our lifespans: with a role to play in everything from early childhood education, to aged care, to intergenerational bonding.

  • For young people in particular, arts appear to have a special power. However, insights from research are not well known – even among those involved in it on a daily basis.

  • The Australian Theatre for Young People (ATYP) and Patternmakers identified an opportunity for this evidence to be consolidated and shared – and this publication is the result.

Image Credit: Tracey Schramm, courtesy of ATYP.

5 things we know about young people and arts, supported by the literature:

  1. Youth arts provides a platform for young people to explore important ideas - and boosts civic engagement.

  2. Arts participation provides socio-emotional benefits for young people that can act as protective factors against mental illness.

  3. Arts can be used therapeutically or ‘on prescription’ to fight depression, anxiety, and PTSD in young people.

  4. Arts participation is associated with better educational outcomes for students, including stronger academic performance.

  5. Arts-rich education improves students’ motivation, engagement, attendance, and school enjoyment

Image Credit: Tracey Schramm, courtesy of ATYP.

Why was it created?

  • This document is designed to highlight some of the striking insights that have been gathered through quality research – and real-life examples of the insights in practice.

  • For decades, researchers in Australia and around the world have completed detailed and rigorous work exploring and quantifying the benefits of arts participation.

  • However, the insights are often located within academic journals, conference papers and government websites. We don’t always have the time, resources, or prior knowledge to find it, access it, or understand it.

  • The same applies to the many examples of impact being generated by arts organisations and youth companies making work by, with, and for children and young people. Some of the most exciting stories are not heard by the people that search for them.

Image Credit: Clare Hawley, courtesy of ATYP.

How should it be used?

  • The purpose of this guide is to help you navigate your way around different studies and sources, so you can find what’s relevant to you – whether you’re a policy-maker, stakeholder, arts manager, practitioner, or parent.

  • We hope this guide will be used as a point of connection with the literature. It is not intended to be exhaustive, but rather to highlight what stands out from some of the highest quality, most relevant studies.

  • We hope you will follow the links, read the studies, examine their strengths and limitations, and understand how they relate to you and your work.

  • Ultimately, we want to shine a light on the robust evidence for youth participation in arts – with the hope that young people across Australia will benefit as a result.


Click to download the guide:

Click to download the summary:

Header Image Credit: Brett Boardman, courtesy of ATYP.

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Holly Davison
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Join Patternmakers

We are looking for a Business Administrator to join the Patternmakers team in the new year to assist us with the smooth running of the business, managing all administration and finance processes, supporting business operations and managing business risks.

Business Administrator

We are looking for a Business Administrator to support the Patternmakers team in the smooth running of the business, managing all administration and finance processes, supporting business operations and managing business risks.

We would love to meet someone with business administrator experience who enjoys working independently, using their initiative, sharing ideas and has a focus on continuous improvement.

Patternmakers is Australia's research agency dedicated to culture, creativity and community. The team works with major cultural institutions, government agencies, creative businesses and non-profit organisations to reach new audiences, secure support and grow their impact.

The role is highly flexible and can be partially undertaken from your own home or workspace, though you will need to attend regular team meetings online and face-to-face.

We are offering the right candidate a permanent part-time role, with potential to extend or expand. The contract will be for 23 hours per week (equivalent of 3 days), ideally spread across four or five days. Choose the hours that work for you - morning, noon or night.

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We are a fully flexible, mobile team who work from home - and welcome applications from people of all backgrounds.

If you would like to apply for this role please email your resume and a cover letter telling us how your experience, approach and goals suit the role.

Submit your application on Indeed here.

Applications close on Thursday 8 December at 5.00pm AEDT.

 
 
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Tandi Palmer Williams
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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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The outlook for recovery across Australia

Download the October 2022 snapshot reports for key states/territories for tailored insights into how Australian audiences are settling into the post-COVID landscape.

Snapshot reports for key states/territories

Based on data from the October 2022 Audience Outlook Monitor, find out how audiences across Australia’s states and territories are settling into the post-COVID landscape, balancing confidence and the desire for innovative experiences with barriers such as financial pressures, re-entry anxiety and lifestyle changes.

Scroll down to access the Snapshot reports for key states and territories, thanks to support from state/territory arts agencies: Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts SA) and Department of Local Government, Sport and Cultural Industries (WA) and artsACT.

Download the snapshots

Navigate and click the images below to access the snapshots for each state.

 

Download the following state/territory snapshots in an accessible format:

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 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.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

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.

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

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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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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.

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What's next in terms of flood recovery for the creative industries?

In 2022, the Patternmakers team has been working on a project to assist with creative industries flood recovery. Here, we share the 5 top areas of need, and 6 recommendations for intervention, to ensure the creative industries flourishes again after the disaster.

In late 2022, the Patternmakers team has been working with Arts Northern Rivers on a project to assist with creative industries flood recovery. Here, we share the 5 top areas of need, and 6 recommendations for intervention, to ensure the creative industries flourish again after the disaster.

The Northern Rivers Creative Industries Recovery Forum was held on 28 and 29 July 2022, five months after severe storms and flooding hit communities across Northern NSW and Southern QLD.

Over 200 artists and arts workers gathered in Lismore, NSW, to connect and discuss the question: ‘What’s next in terms of creative industries recovery?’. We were excited to be in good company with Arts Northern Rivers and Creative Plus Business leading the proceedings.

After two big days following the Open Space methodology, a total of 45 topics were raised and documented in a ‘Book of Proceedings’.

This week, Patternmakers and Arts Northern Rivers are pleased to share our report on the Forum and sector priorities. It is based on an analysis of the Book of Proceedings, a series of interviews following the Forum, and a desktop review of relevant data, including Northern Rivers demographic information, recovery funding information, and the NSW Government’s 2022 Flood Inquiry report.

It summarises the areas of need and makes recommendations for the priority interventions required for recovery of the region’s creative industries.

Areas of need

There are 5 interrelated areas of need in the region’s creative industries following the 2022 floods:

  • REPAIR: Supporting artists and organisations to replace losses and rebuild their practices by ensuring functional and safe studio spaces for both Indigenous and non-Indigenous artists, in addition to replacing lost equipment and materials, communicating opportunities for assistance and administering mental health first aid.

  • PREPARE: Helping artists and organisations disaster-proof their practice and strengthen resilience by building disaster management capacity, sharing learnings and insights through events and resources, creating new roles to support preparedness and developing flood-proof practices for all art-forms.

  • INFLUENCE: Advocating for the creative industries and ensuring artists are central to recovery by finding creative solutions to ‘build back better’, ensuring Council’s allocate space for creative work, ensuring the creative industries have a strong voice in policy and investment decisions, prioritising diverse voices and improving funding processes. 

  • WORK: Creating opportunities for artists to work, generate earnings and support community recovery including exploring a wide variety of models, facilitating residencies, enabling diverse public art projects to take place, bringing artists together to support one another and harnessing the arts to heal parts of the community in need.

  • THRIVE: Working towards a more equitable, vibrant and newly flourishing arts sector, by stimulating ambitious creative activities like major events and festivals, ensuring there are trajectories for emerging artists, putting First Nations first, increasing the reach of Northern Rivers arts and changing perceptions of regional arts.

Intervention is needed to remove barriers and stimulate the recovery process

Some people and groups have been disproportionately affected, and some face risks and barriers in the recovery process – particularly in the context of the ongoing housing crisis.

Working with Arts Northern Rivers we identified six ecommendations for intervention by peak bodies, government agencies, businesses, and other stakeholders.

1.    SPACE

Many creative spaces were damaged and lack access to space is a major impediment to recovery. Identifying suitable properties, liaising with stakeholders and sourcing funding for spaces is an urgent priority for all artforms and all areas of the region, but particularly in Lismore and for First Nations artists.

2.    CAPACITY

Much has been learned about disaster recovery and a range of new skills are needed. Investing in professional development opportunities and knowledge sharing is vital to spur creative recovery and ensure preparedness.

3.    FUNDING

Loss of economic opportunity is hugely problematic. Funding and partnerships are needed for residencies, commissions and projects. Opportunities are needed for short-, medium- and long-term horizons, from levels of government across a range of portfolio areas, and private sources.

4.    FIRST NATIONS

The region’s First Nations artists and cultural workers have been hit hard, and may not have equal access to space or support. Investing in specific forms of support for the region’s First Nations artists and cultural workers is essential, including Indigenous-led spaces, programs and events.  

5.    ACCESS

Some people and organisations have not been able to access recovery initiatives, due to disability, language barriers and socio-economic disadvantage. It’s important to review and improve accessibility of support for people from all backgrounds and ensure there are specific strategies in place to address inequities.

6.    COMMUNICATION

The disaster has heightened isolation and it’s vital there are ongoing opportunities for the creative industries to connect, share information and exchange ideas related to the recovery process.

Many of these interventions will deliver benefits for the creative industries and the wider community. If designed with care, there is potential to rebuild a sector that is thriving and generates artistic, social and economic benefits across the region and for Australia as a whole.

Get in touch

The issues, needs and opportunities identified in the report are not exhaustive. While an effort has been made to speak to and reflect the perspectives of a broad range of stakeholders and representatives from the Northern Rivers community, the situation is constantly changing. People recover at different rates and new needs will continue to reveal themselves.

If the report has raised any questions, suggestions or ideas, or you’d like to offer your feedback, you can fill out the feedback form here: https://survey.alchemer.com/s3/7081267/Creative-Industries-Flood-Recovery-Report-Feedback

We’d love to hear from you. This report is the product of conversations and collaborations of artists and arts workers from across the Northern Rivers and beyond. It’s vital that we continue hearing from the voices of those affected, working together to deliver the changes the region needs

Image Credit: Kate Holmes, courtesy of Arts Northern Rivers.

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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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Key findings: October 2022

October 2022 results from the Audience Outlook Monitor are now available, covering current attendance levels, financial barriers, re-entry anxiety and the desire for innovative arts experiences.

Read about the findings and download the Live Attendance Update.

Audiences are enjoying the buzz of more events, but financial barriers are slowing market recovery

  • Gradual improvements in confidence are evident in the October 2022 data from 5,438 past attendees. 71% say they are ‘ready to attend now’ or whenever permitted, up from 65% in August and 59% in March 2022.

  • Audiences are feeling positive about attending events right now, with qualitative data showing many are enjoying more choice and ‘buzz’ in their areas. 3 in 4 (75%) attended a cultural event in the fortnight before data collection (12-16 October 2022), consistent with August 2022 (76%) and higher than March 2022 (70%).

  • Attendance frequency is yet to return to pre-pandemic levels. For instance, 44% of performing arts attendees are attending less often than they used to, and 52% are attending about the same amount.

  • Spending levels are not increasing. The proportion spending over $50 on arts and culture in the past fortnight (63%) is consistent with March and August 2022 – with the rising costs of living now playing a role in purchasing decisions.

  • Full recovery will take time. While most audiences are feeling confident and many are optimistic about increasing their attendance in future, new barriers are emerging related to economic factors and lifestyle changes.

Download the Live Attendance Update or read on for more of the findings.

The report is also available in an accessible format here.

Audience behaviour continues to evolve in line with lifestyle changes and 6 in 10 are seeking new experiences

  •  Gradual increases in attendances are likely, with half of audiences (51%) saying they expect to attend more often in the next year. However, the situation is complex and some are perceiving a lack of appealing events available (32%) or are prioritising other things in their lives at the moment (24%).

  • Price sensitivity may increase, as financial reasons have now overtaken the virus as the main barrier to attendance. Financial barriers are now affecting 40% of audiences, up from 24% in August 2022. It’s likely to be a bumpy ride, with factors like re-entry anxiety and lacking energy to go out also impacting decisions.

  • Last-minute ticket purchases are here to stay, with August 2022 data revealing most audience members book events within the next seven days (26%) and the next 2-3 weeks (43%).

  • Scheduling preferences are changing for 1 in 5 audience members whether it’s the time, day or location of events. Pandemic lifestyle changes – like flexible work and regional migration ­­– are taking root and venues will likely be feeling the effects in their areas.

  • People continue to favour their local area (65%) or region (45%) when attending the arts, but many are excited for the return of touring and want to see variety in their communities.

  • There is an appetite for new (58%), uplifting (73%) and challenging cultural experiences (42%) — so balanced programs are key. Audiences under 35 are the most likely to want to try new things (74%), confirming the case for innovation for this important group.

4 in 10 participate in the arts online and virtual opportunities have become a vital form of accessibility

  •  Online channels continue have an elevated importance for connecting with audiences.

  • Digital marketing is paramount for live events and 83% of audiences are using online channels, such as e-newsletters (55%), websites (54%), Facebook (24%) and online search (11%) to find out what’s on.

  • Participation in online cultural activities is stable. 4 in 10 audience members (41%) participated in some kind of online arts recently, such as pre-recorded video (21%), online classes/tutorials (18%) and live streamed performances (14%), stable with March 2022 (42%).

  • Spending on digital activities is steady, in line with stability in cultural spending overall: 33% paid for an activity in the fortnight before data collection, consistent with 34% in March 2022. Among those paying, 39% spent over $50 (down from 44% in March 2022).

  • Online cultural participation is highest among audiences aged 75+ (44% participating online), audiences who are vulnerable to COVID-19 (47%), audiences with a disability (49%) and those who are more cautious about the risk of the virus (46%) – confirming digital events as a form of accessibility.

  • Most audiences continue to see a role for digital, with the proportion saying that these experiences continue to ‘play some role’ in their life – though this has declined slightly since March 2022 (68%, down from 73%).

  • Audiences appreciate the value of digital programs in overcoming barriers to live attendance – a topic that will be explored in detail in an upcoming Fact Sheet and set of case studies.

 
 

Use the dashboard to get results for your artform and region

Survey data from over 5,400 respondents has been uploaded to the dashboard, which now contains insights from 100,000 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.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

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.

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

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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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Join Patternmakers

We are looking for an experienced leader to join the Patternmakers team in a Manager capacity to assist us with research and insights.

Manager, Research and Insights

An exciting opportunity to join the brilliant team at Patternmakers in the newly created role of Manager, Research and Insights. ​

Patternmakers is Australia's research agency dedicated to culture, creativity and community. The team works with major cultural institutions, government agencies, creative businesses and non-profit organisations to reach new audiences, secure support and grow their impact.

This role oversees projects, leads the team of Research Analysts, facilitates client meetings and workshops and ensures the integrity of outputs relating to research and analytical insights.

It is the perfect role for someone who loves to collaborate, work in a flexible and well paced environment with an interest in building teams, business and diversifying the client and income base.

A key senior leadership position, this role can be based from home (70%) and in person (30%) with flexible working arrangements. The 30% will take place primarily in Sydney and Melbourne (majority of clients are based here) and for quarterly retreats and as negotiated, at HQ in Sydney.

For the Position Description, please see here.

For a confidential discussion or more information, please contact Recruitment Lead, Jade Lillie on hello@jadelillie.com

To apply, please email Jade with your CV and cover letter (maximum two pages) outlining your suitability for the role and using subject line: Pattermakers: EOI - Manager, Research and Insights.

Applications close on Friday 25 November at 12.00pm AEDT.

 
 
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Beyond the Bio: Mia Skeffington

Meet our Research Coordinator, Mia Skeffington! Join us as we take a few moments to go beyond the bio and get to know our team's newest addition.

Meet our Research Coordinator, Mia Skeffington! Join us as we take a few moments to go beyond the bio and get to know our team's newest addition.

Tell us a bit about your background, Mia!

Hello! I’m currently studying a double degree of Bachelor of Laws / Bachelor of Communications, majoring in Social and Political Sciences. My studies have instilled in me a passion for social justice and an awareness for the powerful ways in which arts and culture can shape individuals and collectives. I have engaged with Visual Arts throughout my entire schooling career and am thrilled to be part of a company that is so involved in the arts sector.

Both my studies and previous administrative experience have also enhanced my ability to think and solve problems in both an organised and creative manner. I was also a tutor for a number of students over the years, allowing me to hone my communication skills, empathy and be supportive in any way that I can.

What is your role at Patternmakers?  

As Research Coordinator, my role at Patternmakers is to assist the research team in the smooth running of client projects, undertake research support and administration activities, coordinate fieldwork, and support project delivery. My aim is to ensure that every client who comes into contact with Patternmakers has the best experience possible.

What is your favourite type of cultural experience and why? 

I absolutely adore going to literally any type of art exhibition! I’m always so in awe of the diversity of visual arts, and the creativity and authenticity of others.

I also love musical ensembles and cabaret shows. I’ve been playing the violin since I was five and have performed at the Sydney Opera House several times, played with the London Symphony Orchestra and was a section leader in the Goulburn Strings Project. I really treasure the experience of playing with a collective of people.

Favourite city or the most interesting place you’ve visited or travelled? 

I think each place I’ve visited has been my favourite for different reasons. I really love Venice: every inch is vibrant and full of life, from the palaces, to the churches, to the streets, to the canals, to the restaurants… the list can go on and on.

Siem Reap is very vibrant too, and beautifully rich in history and culture. There’s also something so dreamy about walking around Paris on an early winter’s morning. Maybe it’s the crisp air and hot coffee, and the excitement for the day of sight-seeing ahead.

What do you do outside of Patternmakers? 

Outside of Patternmakers, you’ll find me buried under a pile of law readings, donning a face mask and a herbal tea in hand. You might also find me dreaming of future holiday destinations, discussing the world’s dilemmas, quoting sitcoms, and exploring my surroundings with my family and friends.

About the Author

Melanie Raveendran
Digital Marketing Associate

 
 

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Privacy Collection Statement for Sydney Jewish Museum research participants

This page lets you know about the Sydney Jewish Museum audience survey and what information of yours we hold, what we do with it, who we will disclose it to and how you can access the personal information we hold about you.

About the study

The Sydney Jewish Museum is undertaking research to learn more about their audience.

This survey is for past and potential visitors to the Sydney Jewish Museum. We want to hear from people from all backgrounds.

This survey is being administered by the Sydney Jewish Museum’s research partner for this study, Patternmakers Pty Ltd (Australia, ABN 97 627 469 649). Patternmakers is a research agency based in Sydney, Australia. It specialises in research related to culture, creativity and community. You can read more about its work here.

Participating in the survey is completely optional. Your survey responses will be anonymous and confidential.

Below, you can read the privacy collection statement for the study.

Privacy collection statement

Introduction

Patternmakers respects and upholds your rights under the Australian Privacy Principles contained in the Privacy Act 1988 (Cth) ("Privacy Act"). As an Australian research organisation, Patternmakers also adheres to the Privacy (Market and Social Research) Code 2014 (“Code”). For more information about the Privacy Act, the Australian Privacy Principles and the Code click here.

The survey will ask about your experiences attending museums and galleries, including the Sydney Jewish Museum, as well as your interest in different activities. To help interpret responses, the survey will also as you some demographic questions, however it will not ask for any personally-identifiable information like your name or email address.

Your survey responses will be anonymous.

This anonymous data will be collected in Web Survey Creator WebSurveyCreator.com, a survey software platform based in Australia. You can read more about Web Survey Creator’s Privacy Policy here.

At no point, will Web Survey Creator ask for your name, phone number or email address or any personally identifiable information. Please take care in your written answers that you don’t provide personalised information.

The survey is set up to stop the storage of identifying information such as IP address.

If the survey is anonymous, how will I enter the prize draw?

At the end of the survey, you can elect to go in the draw for the chance to win a prize. Running a prize helps us motivate participation and hear from a range of people. Your email address will be stored separately from your survey response, so your survey responses will remain anonymous.

If you choose to enter the draw, and click on ‘Click here to enter the prize draw’, you will be taken to a separate, secure platform called Checkbox Survey at www.checkbox.com, where you will have the option to enter the draw by providing your email address.

Checkbox Survey data is stored securely on servers hosted in Australia. You can read more about Checkbox Privacy Policy here: www.checkbox.com/privacy_policy/ and their data hosting in AWS centres here.

What are the purposes for which Patternmakers use, handle and disclose your personal information?

We will only use and disclose your personal information for the purpose of conducting our research and in accordance with our company’s overall Privacy Policy.

Prize draw terms & conditions:

Eligibility

Entry is open to anyone over 16 who has completed the Sydney Jewish Museum Visitor Survey in October 2022.

Employees or immediate family members of employees, associated with the Sydney Jewish Museum or Patternmakers are ineligible to enter.

Entry

The Promotion commences at 01:00AM AEDT 21/10/2022 and entries close at 11:59PM AEDT 28/10/2022 (Promotion Period).

To enter, Eligible Entrants must provide their email address at the end of the survey during the Promotion Period.

Only one entry per person.

Winning and prize conditions

The total value of the prize draw is AUD$600. This includes 3 x $200 Mastercard e-gift cards.

The winner will be randomly selected at 12:00pm AEDT on 1/11/2022 at 223 Liverpool Street, Darlinghurst NSW 2010.

The winner will be notified by phone/email within two (2) business days of the draw and prizes must be claimed within seven days after notification.

If there are any unclaimed or unwanted prizes within seven days, a subsequent prize draw will be conducted seven days later, at the same time and place as the original draw. Draws will be repeated as needed until a winner accepts the prize.

Questions

If you have any questions about this Privacy Collection Statement or our Privacy Policy then we ask that you contact us immediately using the following email: info@thepatternmakers.com.au

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Privacy Collection Statement for Schwartz Media research participants

This page lets you know about the Schwartz Media audience survey and what information of yours we hold, what we do with it, who we will disclose it to and how you can access the personal information we hold about you.

About the study

Schwartz Media is undertaking research to learn more about their audience.

This survey is for Schwartz Media audience members including subscribers to The Saturday Paper, The Monthly and 7am listeners. We want to hear from people from all backgrounds.

This survey is being administered by Schwartz Media’s research partner for this study, Patternmakers Pty Ltd (Australia, ABN 97 627 469 649). Patternmakers is a research agency based in Sydney, Australia. It specialises in research related to culture, creativity and community. You can read more about its work here.

Participating in the survey is completely optional. Your survey responses will be anonymous and confidential.

Below, you can read the privacy collection statement for the study.

Privacy collection statement

Introduction

Patternmakers respects and upholds your rights under the Australian Privacy Principles contained in the Privacy Act 1988 (Cth) ("Privacy Act"). As an Australian research organisation, Patternmakers also adheres to the Privacy (Market and Social Research) Code 2014 (“Code”). For more information about the Privacy Act, the Australian Privacy Principles and the Code click here.

The survey will ask about Schwartz Media’s titles, your news habits and journalism preferences, and your priorities. To help interpret responses, the survey will also as you some demographic questions, however it will not ask for any personally-identifiable information like your name or email address.

Your survey responses will be anonymous.

This anonymous data will be collected in Web Survey Creator WebSurveyCreator.com, a survey software platform based in Australia. You can read more about Web Survey Creator’s Privacy Policy here.

At no point, will Web Survey Creator ask for your name, phone number or email address or any personally identifiable information. Please take care in your written answers that you don’t provide personalised information.

The survey is set up to stop the storage of identifying information such as IP address.

If the survey is anonymous, how will I enter the prize draw?

At the end of the survey, you can elect to go in the draw for the chance to win a prize. Running a prize helps us motivate participation and hear from a range of people. Your email address will be stored separately from your survey response, so your survey responses will remain anonymous.

If you choose to enter the draw, and click on the ’Submit’ button, you will be taken to a separate, secure platform called Checkbox Survey at www.checkbox.com, where you will have the option to enter the draw by providing your email address.

Checkbox Survey data is stored securely on servers hosted in Australia. You can read more about Checkbox Privacy Policy here: www.checkbox.com/privacy_policy/ and their data hosting in AWS centres here.

What are the purposes for which Patternmakers use, handle and disclose your personal information?

We will only use and disclose your personal information for the purpose of conducting our research and in accordance with our company’s overall Privacy Policy.

Questions

If you have any questions about this Privacy Collection Statement or our Privacy Policy then we ask that you contact us immediately using the following email: info@thepatternmakers.com.au

Prize draw terms & conditions:

Eligibility: Entry is open to anyone over 16 who completed the Schwartz Reader Survey in September-October 2022. Employees or immediate family members of employees, associated with Schwartz Media or Patternmakers are ineligible to enter.

Entry: The Promotion commences at 01:00AM AEDT 19/09/2022 and entries close at 11:59PM AEDT 19/10/2022 (Promotion Period). To enter, Eligible Entrants must provide their email address at the end of the survey during the Promotion Period. Only one entry per person.

Winning and prize conditions: The total value of the prize draw is AUD$2000. This includes 4 x $500 Mastercard e-gift cards. The winner will be randomly selected at 12:00pm AEDT on 20/10/2022 at 223 Liverpool Street, Darlinghurst NSW 2010. The winner will be notified by phone/email within two (2) business days of the draw and prizes must be claimed within seven days after notification.

If there are any unclaimed or unwanted prizes within seven days, a subsequent prize draw will be conducted seven days later, at the same time and place as the original draw. Draws will be repeated as needed until a winner accepts the prize.

Further information: For any further questions, please contact us at info@thepatternmakers.com.au.

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Recovering from re-entry anxiety

Are you ready to party like it’s 2019? No? Me neither. Read on for the low-down on ‘re-entry anxiety’ and the impact on the cultural sector.

Are you ready to party like it’s 2019? No? Me neither.

We’ve heard a lot about the joy and excitement of returning to ‘normal’ after the pandemic. And there sure are some perks. But, for some of us, this easing of restrictions doesn’t feel 100% like freedom.  

Instead, the prompting to re-enter society might be creating some new forms of worry and anxiety - and it’s reflecting in attendance trends for cultural events.

What is this feeling you speak of?

There’s already a name for it: Re-entry anxiety. This psychological phenomenon describes the difficulty to reintegrate into a ‘normal’ situation following an extended period of absence.

Don’t fret - it’s a completely normal and valid response.

People are out of practice - we can’t expect the hermit-like habits that we made during this period to simply disappear overnight.  

It also doesn’t help that ‘COVID-normal’ is an awkward state of trying to rejoin society, and figure out your ‘new normal’ while also still protecting yourself and your loved ones.

Previously, making the decision to attend generally came down to whether you had the desire and availability to commit. Now, decision making is a bit more complicated…

  • Is that a scratch in my throat?

  • Is my toddler’s daycare cough better or worse today? What amount of coughing is socially acceptable right now?

  • Should I wear a mask? Will I be judged if I do/don’t wear one? In fact, where IS my mask? Is my mask the right kind of mask?

  • Is the person I’m meeting on the same page? Don’t they have a sick relative? What if I put them at risk?

  • What about that event coming up? I really don’t want to be sick for the wedding/holiday/big work thing. What if I get COVID on X date and then can’t do X thing? What if I spend all this money and then can’t get a refund?

  • Is this even a priority right now? Maybe I should just pack it all in and move to Tasmania.

What does the data say?

The thing about social anxiety is it actually could get worse before it gets better. And that’s because relaxing restrictions puts more onus on the individual.

One longitudinal study found that since restrictions eased, people are actually more likely to report higher social anxiety as they readjust into their social environment. Further, the findings emphasised the importance of assisting vulnerable groups, such as those unemployed, lower wealth and younger, who may be bearing the brunt of re-entry anxiety.

Research suggests that as we start to socialise more, and grapple with new norms, we can expect social anxiety to affect more people - and for it to worsen cases of existing anxiety and depression.

And, according to the International Journal of Environmental Research and Public Health, ‘distress from negatively focused self-consciousness may also be increased by reliance on social media to communicate with others in social and working environments’.

It’s even dedicating a Special Issue to the topic of ‘Social Anxiety During COVID-19 Pandemic’ in 2023.

What does this mean for the cultural and community sectors?

Basically, this feeling is manifesting in greater hesitation, more last-minute decision-making and ultimately lower participation rates in some activities.

We recently released our August 2022 Live Attendance Update, which is based on a survey of over 2,200 attendees of cultural events. It showed that while 2 in 3 audience members are ready to attend events, there are a whole range of factors likely to inhibit attendance over the next 12 months.

One audience member said that they hold a “general ennui as a result of years of covid restrictions.”

Another said, “I have become accustomed to not attending events.”

An attendee also claimed, “I love and miss the arts. But honestly, post-COVID I do much less. I go out to less shows, I work from home.”

Almost half (46%) say that the risk of transmission will continue to inhibit their attendance in the next 12 months, while others point to the risk of cancellations, close contact rules, financial barriers or issues getting tickets.

We’re also seeing that some people are balancing competing priorities, such as social obligations and travel plans, leading them to limit their attendance and avoid the risk of transmission in anticipation.

Uncertainty continues to lead people to buy tickets for events scheduled within seven days (26%) or within the next three weeks (43%), which must be challenging even the most steely marketers.

What can we do? 

  • Allow time to recalibrate. Yes, these conditions are going to be with us for a while yet. It’s wise to manage expectations with your stakeholders, and doing so with research like the Audience Outlook Monitor can help (it’s not just you - it’s everyone!).

  • Implement targeted marketing. The market is increasingly competitive as every organisation tries to secure the attention of a reduced audience. Being more purposeful and tailored with our audience development strategies is key to getting cut-through.

  • Show people what to expect. A simple way to mitigate uncertainty is to show potential audiences what they can expect from the audience experience. This can be photos of the audience experience, COVID-safety measures, itineraries, maps and anything else that can prepare people.

  • Rethink ticketing models. If long-term planning is no longer on the radar of most audiences, it’s a good time to review the way we work. For instance, the Malthouse Theatre in Melbourne has recently switched to a new model where their seasons are announced in a rolling fashion, rather than as part of an annual program.

  • Offer ticket flexibility. In light of increased financial limitations for audiences and the ever-looming threat of falling sick and having to isolate, options such as free/reduced cancellation, easy refund policies, or ‘COVID-insurance’ are excellent methods of making people more comfortable with planning ahead.

  • Ensure there are digital opportunities. It may be tempting to focus all your attention on getting people in the door but it’s worthwhile facilitating some forms of digital engagement as well. This can benefit those with social anxiety, but also people with geographic barriers, caring commitments, access issues, etc.

Just as we adapted to the rules of the pandemic, we will eventually settle into a new normal. Be patient with yourself and your teams in this adjustment period.

Change can be a good thing. The pandemic shined light on issues such as the importance of protecting your mental health and maintaining a healthy work-life balance.

If this article raises any issues for you, or if you or anyone you know is struggling with mental ill-health or needs support, call or visit the online resources below:

Image credit: @heretotravel, Unsplash. Image depicting Olafur Eliasson’s ‘Your Rainbow Panorama’, 2011.

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

 
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Key findings: August 2022

August 2022 results from the Audience Outlook Monitor are now available, covering current attendance, spending levels, competing priorities and key barriers.

Read about the findings and download the National Snapshot Report.

Market activity is increasing, but audiences continue to behave differently when it comes to attending events

  • Two-thirds of audiences say they are now ready to attend ‘whenever permitted’ (65%), and despite high case numbers say they are eager to get on with life under ‘COVID-normal’ conditions.

  • A greater proportion say they attended a cultural event of some kind in the past fortnight before data collection (76%), with the highest proportions attending live performances (49%), cinemas (32%) and museums/galleries (29%).

  • A range of factors influence attendance decisions – and uncertainty continues to lead people to buy tickets for events scheduled in the short-term - seven days (26%) or later this month (43%).

  • Almost half (46%) say the risk of transmission will inhibit their attendance in the next 12 months, confirming that COVID is still a factor to contend with.

  • Around one-quarter (24%) say that financial reasons have come into play and people under 35 appear to be the most affected (47%).

  • Only one in five (22%) say their attendance won’t be inhibited in any way in the next 12 months, which offers guidance for forecasting demand this year and next.  

Download the Live Attendance Update or read on for more of the findings.

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

 
 

Audiences are divided on matters of safety – and masks have regained popularity in some segments

  • Although many audiences want to move on from COVID-19 and regain a sense of normalcy, it is clear that the virus continues to play into decision-making for many – either some, or all of the time.

  • One-third (33%) of audiences say their general risk tolerance is low. They’ll only attend when they’re reasonably confident the risks of transmission are minimal.

  • A further 18% of people have mixed views: they say they’re generally happy to attend whenever permitted, but that the risk of transmission will likely inhibit their attendance in some ways over the next 12 months.

  • Qualitative data shows that some people are limiting their activity in anticipation of key events or travel plans, which may mean they de-prioritise arts attendance.

  • 43% of audiences are now happy to attend large theatres/concert halls without any safety measures in place. Some are comfortable with the level of risk associated with ‘COVID-normal’, while others have accepted that further mandates are unlikely and are managing their own safety through masking and distancing.

  • Older audiences are more likely to need reassurance, and 54% of audiences aged 65 and over say they won’t attend large theatres/concert halls unless masks are required. It’s worth considering if varying protocols by event (for example, offering a ‘masked matinee’) could help offer a way for cautious audiences to stay connected, without alienating others.

Understanding audience priorities in the post-COVID landscape can help position events  

  • Although there are positive signs, the situation is complex and there are a range of broader factors playing into attendance decisions.

  • There is a need for the sector to adapt to suit the conditions, as dramatic changes from this position now appear unlikely. From programming, to marketing, to venue management – there is a need for bold strategic planning and remodelling.

  • The market is crowded and the wide range of activities and events now available to audiences means that competition for audience time and attention is fierce. The need for targeted marketing continues to grow in importance – as different segments are behaving very differently.

  • Many people continue to prioritise social events, key milestone celebrations that might have been postponed, and travelling to visit friends and family.

  • Appetite to travel for cultural events has not changed significantly since March, which suggests that the recovery of cultural tourism remains a long-term proposition.

  • Patternmakers’ Visions for Culture research shows that audiences see a role for the arts to help the community heal, transform and remodel – and as the country moves into its ‘COVID-normal’, there will be a role for leadership and creative solutions from the sector.

  • Stay tuned for Phase 8 for a deeper dive into the role that lifestyle, cost of living, competing priorities and cultural tourism are playing in attendance decisions.

 
 

Use the dashboard to get results for your artform and region

Survey data from over 2,200 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.

Data was collected in six phases throughout 2020-2021 and is again being tracked in 2022.

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.

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

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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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Privacy Collection Statement and Information for ACMI Visitor Research Participants

Visitor research is being carried out at ACMI by Patternmakers and Milicante Consulting to ensure the museum is delivering the best experiences it can. This page lets you know what personal information of yours we hold, what we do with it, who we will disclose it to and how you can access it.

About the study

Visitor research is being carried out at ACMI by Patternmakers and Milicante Consulting to ensure the museum is delivering the best experiences it can.

Participation is completely optional, and results will only be viewed in aggregate. Your survey responses will be treated as anonymous and confidential. Below, you can read the privacy collection statement for the study.

Privacy collection statement

Introduction

Both Patternmakers and our fieldwork partner, Milicante Consulting, respect and uphold your rights under the Australian Privacy Principles contained in the Privacy Act 1988 (Cth) ("Privacy Act"). As an Australian research organisation, Patternmakers also adheres to the Privacy (Market and Social Research) Code 2014 (“Code”). For more information about the Privacy Act, the Australian Privacy Principles and the Code click here.

This page lets you know what personal information of yours we hold, what we do with it, who we will disclose it to and how you can access the personal information we hold about you.

What personal information about you will be collected?

The survey will ask about your views on ACMI and it’s exhibitions and events. To help interpret responses, the survey will also collect some demographic information. If you prefer not to answer demographic questions, you can select ‘Prefer not to say’.

This data will be collected via Web Survey Creator, an Australian online survey platform. All of your information, including any personally identifiable information, will be collected on servers located in Australia.

Please note that at the end of the survey, you will be given the option to go in the draw for the chance to win a prize. If you click next, you will be taken to a separate survey hosted on Web Survey Creator, where you will have the option to enter the draw by providing your email address and name. You will also be asked if you are open to participating in further research on this topic. If you indicate that you are interested, Patternmakers will collect your email address, name and postcode for the purpose of contacting you for other research opportunities, such as paid focus groups.

By selecting ‘yes’ you are indicating that you acknowledge the statement and consent to this Privacy Collection Statement. Your email address will be stored separately from your survey response, so your responses will remain anonymous and confidential. Your email address will only ever be used for research.

What are the purposes for which Patternmakers use, handle and disclose your personal information?

We will only use and disclose your personal information for the purpose of conducting our research and in accordance with our Privacy Policy. We will not use or disclose your personally identifiable information provided for research for the purpose of advertising, promotions or direct marketing activities.

If you have participated in our research, we will only re-contact you if you were informed of this, opt-ed in, or we have valid reasons to believe a genuine research concern warrants such re-contact. You can opt-out or unsubscribe at any time.

Who will Patternmakers disclose your personal information to?

We will not disclose any personally identifiable research information we collect from you unless we have your express prior consent and will only report the information you provide in an aggregate form that will not personally identify you. We will not disclose any personal information or personally identifiable research information to a third party for a purpose other than conducting our research unless we have your express prior consent or are required to do so by an Australian law or court/tribunal order. 

In the course of conducting our research we may rely on third party service providers to host or store the data we collect, who may be located overseas. The names and locations of those suppliers are:

Microsoft, based in the U.S.

Web Survey Creator, based in Australia.

Milicante Consulting, based in Australia.

Mailchimp, The Rocket Science Group LLC, based in the U.S.

We will also take reasonable steps to ensure any service providers (and their employees and contractors) comply with relevant privacy regulations in their jurisdiction, as well as this Privacy Policy.

Questions and complaints

If you have any questions about this Privacy Collection Statement or our Privacy Policy then we ask that you contact us using the following contact details:

Sara Mason, Manager, Business Operations: info@thepatternmakers.com.au

Terms and conditions for the ACMI Visitor Research 23/24 Prize Draw.

Eligibility

Entry is open to anyone over 16 who has completed the ACMI Visitor Research Survey from August 2023 to June 2024.

Employees, immediate family members of employees, and employees of any company associated with ACMI are ineligible to enter. This includes the research organisation, fieldwork contractor and supporting partners.

Entry

The Promotion commences at 01:00AM AEDT 1/08/2023 and entries close at 11:59PM AEDT 30/06/2024 (Promotion Period).

To enter, Eligible Entrants must provide their email address at the end of the survey during the Promotion Period. The prize draw is being administered by Patternmakers via Web Survey Creator at https://www.websurveycreator.com/.

Only one entry per person.

Winning and prize conditions

The total value of the prize draw is AUD$500. This includes 1x $500 Apple e-gift card.

The winners will be randomly selected at 12:00pm AEDT on 01/07/2024 at 223 Liverpool Street, Darlinghurst NSW 2010.

The prize draw is organised by Patternmakers and winners will be notified by email within two (2) business days of the draw and prizes must be claimed within seven days after notification.

If there are any unclaimed or unwanted prizes within seven days, a subsequent prize draw will be conducted seven days later, at the same time and place as the original draw. Draws will be repeated as needed until a winner accepts the prize.

 
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Patternmakers' Privacy Policy

Privacy is important to us. This page sets out our Privacy Policy.

Introduction

Patternmakers Pty Ltd (ABN 97 627 469 649) respects and upholds your rights under the Australian Privacy Principles contained in the Privacy Act 1988 (Cth) ("Privacy Act"). Patternmakers Pty Ltd also adheres to the Privacy (Market and Social Research) Code 2014 (“Code”). For more information about the Privacy Act, the Australian Privacy Principles and the Code click here.

This Privacy Policy for Patternmakers Pty Ltd (“Patternmakers”) lets you know what personal information of yours we hold, what we do with it, who we will disclose it to and how you can access the personal information we hold about you. You can also find out here how to change inaccurate personal information and how to opt out of receiving communications from us.

What personal information about you does Patternmakers collect and hold?

The information Patternmakers collect could include name, email address, IP address, age, gender, postcode, household income, opinions and feedback in relation to cultural experiences. When providing personal information you have the option of remaining anonymous or to use a pseudonym to be identified by. However, in certain circumstances, such as where we receive your contact details from a third party or where the research data itself may potentially allow for identification, this may not be practicable.

Depending on the nature of the research we conduct, we may also collect sensitive information from you, including country of birth, health and family information. Sensitive information will only be collected with your prior consent, and only if it is directly related to, or reasonably necessary for, the research we conduct. Sensitive information will only be collected in anonymous surveys, so that your information remains confidential.

How does Patternmakers collect and hold your personal information?

Patternmakers will generally collect your personal information directly from you in the course of you participating in our research and/or online surveys. However, we may also from time to time collect personal information about you from third parties, such as supporting partners. If so, we will inform you as soon as practicable of this collection and the circumstances of this collection. 

If you are a respondent to a survey, Patternmakers will generally collect your personal information via Checkbox Survey at www.checkbox.com , Web Survey Creator at www.websurveycreator.com or via Alchemer (formerly SurveyGizmo) at www.alchemer.com. The information collected is only for research purposes, and no personally identifiable information will ever be used for marketing.

Checkbox Survey data is stored securely on servers hosted in Australia. You can read more about Checkbox Privacy Policy here: www.checkbox.com/privacy_policy/ and their data hosting in AWS centres here.

Web Survey Creator data is stored securely on servers hosted in Australia. You can read more about Web Survey Creator Privacy Policy here: www.websurveycreator.com/privacy_policy.aspx.

Alchemer survey data is stored securely on servers hosted in the USA. Alchemer is committed to complying with international regulations including GDRP. You can read more about Alchemer’s Privacy Policy here: www.alchemer.com/privacy/.

We may also collect personal information in Sendinblue at www.sendinblue.com and MailChimp at www.mailchimp.com if you opt-in to join our database of research participants or if you subscribe to a newsletter from our website, www.thepatternmakers.com.au.

You can read more about Sendinblue’s Privacy Policy here: https://www.sendinblue.com/legal/privacypolicy/. Sendinblue uphold your privacy rights and comply with privacy regulations under the GDPR.

You can read more about MailChimp’s Privacy Policy here: www.mailchimp.com/legal/privacy/. MailChimp complies with Australian Privacy Law (Privacy Act 1988 (Cth) for its storage of customer data.

If you register to attend a Patternmakers event your information would be collected via EventBrite, www.eventbrite.com.au.

What are the purposes for which Patternmakers use, handle and disclose your personal information?

We will only use and disclose your personal information for the purpose of conducting our research and in accordance with this Privacy Policy. We will not use or disclose your personally identifiable information provided for research for the purpose of advertising, promotions or direct marketing activities. If you declined to participate in our research, there are limited circumstances where we may use your personal information to re-contact you for a research purpose, but only if we have valid reasons to believe a genuine research concern warrants such re-contact. If you have participated in our research, we will only re-contact you if you were informed of this, opt-ed in, or we have valid reasons to believe a genuine research concern warrants such re-contact.

Patternmakers may also collect personal information (name, email address or postal address) when you provide it to receive specific services, such as contracting us to deliver research services, or buying a ticket to an event. This information is stored in secure databases. As a customer of Patternmakers, your email address may be added to a mailing list, as purchasing from us is an indication that you want to hear about our services. However, you can unsubscribe at any time. The information you provide will not be used for any other purpose without your consent. You can choose not to receive such information.

Who will Patternmakers disclose your personal information to?

We will not disclose any personally identifiable research information we collect from you unless we have your express prior consent and will only report the information you provide in an aggregate form that will not personally identify you. We will not disclose any personal information or personally identifiable research information to a third party for a purpose other than conducting our research unless we have your express prior consent or are required to do so by an Australian law or court/tribunal order. 

In the course of conducting our research we may rely on third party service providers to host or store the data we collect who are located overseas. The names and locations of those suppliers are:

Checkbox Survey Inc., based in the U.S., data stored on servers hosted in Australia.

Alchemer LLC, based in the U.S.

WolfBrown LLC, based in the U.S.

SendinBlue Inc, based in Europe.

MailChimp, The Rocket Science Group LLC, based in the U.S.

Microsoft, based in the U.S.

We will also take reasonable steps to ensure any service providers (and their employees and contractors) comply with relevant privacy regulations in their jurisdiction, as well as this Privacy Policy.

Openness

You have the right to request access to any personal information we hold about you. You can request this information by contacting the Privacy Officer at the details listed below. Where we hold information that you are entitled to access, we will respond to your request in a reasonable time and endeavour to provide you with a suitable range of choices as to how access is provided (e.g, emailing or mailing it to you). A fee may be charged to cover the cost of retrieval. However this fee will not be excessive and will only apply to the facilitation of your request.

If at any time you believe that personal information we hold about you is incorrect, incomplete or inaccurate, then you may request amendment of it and we will either amend the information or make a record of your comment, as we think appropriate.

Questions and complaints

If you have any questions about this Privacy Policy or believe that we have at any time failed to keep one of our commitments to you to handle your personal information in the manner required by the Privacy Act, the APPs or the Code, then we ask that you contact us immediately using the following email: info@thepatternmakers.com.au

We will respond and advise whether we agree with your complaint or not.  If we do not agree, we will provide reasons.  If we do agree, we will advise what (if any) action we consider it appropriate to take in response.  If you are still not satisfied after having contacted us and given us a reasonable time to respond, then we suggest that you contact the Office of the Australian Information Commissioner by:

Phone: 1300 363 992 (local call cost, but calls from mobile and pay phones may incur higher charges). If calling from overseas:+61 2 9284 9749

TTY: 1800 620 241 (this number is dedicated to the hearing impaired only, no voice calls)

TIS: Translating and Interpreting Service: 131 450 (If you don’t speak English or English is your second language and you need assistance and ask for the Office of the Australian Information Commissioner)

Post: GPO Box 2999 Canberra ACT 2601

Fax: +61 2 9284 9666

Email: enquiries@oaic.gov.au

Patternmakers Website

When visiting Patternmakers’ web site, the site server makes a record of the visit and logs the following information for statistical and administrative purposes:

  • the user’s server address – to consider the users who use the site regularly and tailor the site to their interests and requirements;

  • the date and time of the visit to the site – this is important for identifying the website’s busy times and ensuring maintenance on the site is conducted outside these periods;

  • pages accessed and documents downloaded – this indicates to Patternmakers which pages or documents are most important to users and also helps identify important information that may be difficult to find;

  • duration of the visit – this indicates to us how interesting and informative Patternmakers site is to candidates; the type of browser used – this is important for browser specific coding

  • In order to optimise Patternmakers web site and better understand it’s usage, we collect the visiting domain name or IP address, Computer Operating System, Browser Type and Screen Resolution

A cookie is a piece of information that an Internet web site sends to your browser when you access information at that site. Cookies are either stored in memory (session cookies) or placed on your hard disk (persistent cookies). The Patternmakers web site does not use persistent cookies. Upon closing your browser the session cookie set by this web site is destroyed and no Personal Information is maintained which might identify you should you visit our web site at a later date.



 
 

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Privacy Collection Statement and Information for Participants

The Audience Outlook Monitor is being delivered in Australia as a collaboration between arts and culture organisations, and two research organisations, Wolf Brown (USA) and Patternmakers (Aus). This page lets you know what personal information of yours we hold, what we do with it, who we will disclose it to and how you can access the information we hold.

About the study

The Audience Outlook Monitor is designed to help artists and cultural organisations adapt to the needs of audiences, in the context of changing conditions presented by the COVID-19 pandemic.

It is being delivered in Australia as a collaboration between arts and culture organisations, and two research organisations, WolfBrown (USA) and Patternmakers Pty Ltd (Australia, ABN 97 627 469 649).

Patternmakers is a research agency based in Sydney, Australia. It specialises in research related to culture, creativity and community. You can read more about its work here. WolfBrown is an agency based in the USA, which provides market research and consulting support for arts and culture organisations. You can read more about its work here.

The Audience Outlook Monitor is being delivered with support from the Australia Council for the Arts, Creative Victoria, Create NSW, Arts Queensland, Department of the Premier and Cabinet (Arts South Australia), Department of Local Government, Sport and Cultural Industries (DLGSC) WA and artsACT. It is being delivered in collaboration with arts and culture organisations across Australia, who are deploying the survey with a sample of their audience. The results are then being aggregated to provide a national picture of audiences.

If you have received an invitation to complete the survey, it is because an arts/culture organisation values your perspective and the sector is relying on insight from audiences about attending arts and cultural events. You may have also provided your email address at the completion of an Audience Outlook Monitor survey to opt-in to join the Research Participant Database panel.

Participating in the survey is completely optional, and results will only be viewed in aggregate. Your survey responses will be treated as anonymous and confidential. Below, you can read the privacy collection statement for the study.

Contents

Privacy Collection Statement

Introduction

Both WolfBrown and Patternmakers respect and uphold your rights under the Australian Privacy Principles contained in the Privacy Act 1988 (Cth) ("Privacy Act"). As an Australian research organisation, Patternmakers also adheres to the Privacy (Market and Social Research) Code 2014 (“Code”). For more information about the Privacy Act, the Australian Privacy Principles and the Code click here.

This page lets you know what personal information of yours we hold, what we do with it, who we will disclose it to and how you can access the personal information we hold about you. You can also find out here how to change inaccurate personal information and how to opt out of receiving communications from us.

What personal information about you will be collected?

On the first page of the survey, you will be presented with a privacy statement. By clicking ‘Next’ to Start the survey, you are indicating that you acknowledge the statement and consent to this Privacy Policy.

The survey will ask about your views on attending arts and cultural events. To help interpret responses, the survey will also collect some demographic information. It will also ask about your perspective on restrictions related to COVID-19. All demographic and COVID-19 related questions are optional.

This data will be collected and stored offshore via Alchemer (formerly SurveyGizmo) at www.alchemer.com, a well-known survey software platform based in the USA. Alchemer LLC is committed to complying with international regulations including GDPR. You can read more about Alchemers’ Privacy Policy here www.alchemer.com/privacy.

At no point, will Alchemer ask for your name, phone number or email address. However, like many websites, the software does track your IP address.

Please note that at the end of the survey, you will be given the option to go in the draw to win a prize. If you click next, you will be taken to a separate, and secure platform SendinBlue (EU) at www.sendinblue.com, where you will have the option to enter the draw by providing your email address. As your email address will be stored separately from your survey response, your responses will remain anonymous and confidential.

You will also be asked if you are open to participating in further research on this topic, as the researchers, Patternmakers, maintain a Research Participant Database, which you can join to participate in future audience research projects. Communications will be sent to your email via SendinBlue (EU).

SendinBlue (EU) comply with international privacy regulations including GDPR. You can read more about SendinBlue privacy policy here. Your email address will only ever be used for research, and will never be used, or sold, for any other purpose.

What are the purposes for which Patternmakers use, handle and disclose your personal information?

We will only use and disclose your personal information for the purpose of conducting our research and in accordance with this Privacy Policy. We will not use or disclose your personally identifiable information provided for research for the purpose of advertising, promotions or direct marketing activities.

If you have participated in our research, we will only re-contact you if you were informed of this, opt-ed in, or we have valid reasons to believe a genuine research concern warrants such re-contact. You can opt-out or unsubscribe at any time.

Who will Patternmakers disclose your personal information to?

We will not disclose any personally identifiable research information we collect from you unless we have your express prior consent and will only report the information you provide in an aggregate form that will not personally identify you. We will not disclose any personal information or personally identifiable research information to a third party for a purpose other than conducting our research unless we have your express prior consent or are required to do so by an Australian law or court/tribunal order. 

In the course of conducting our research we may rely on third party service providers to host or store the data we collect who are located overseas. The names and locations of those suppliers are:

Alchemer LLC, based in the U.S.

WolfBrown LLC, based in the U.S.

MailChimp, The Rocket Science Group LLC, based in the U.S.

Microsoft, based in the U.S.

Sendinblue Inc, based in Europe.

We will also take reasonable steps to ensure any service providers (and their employees and contractors) comply with relevant privacy regulations in their jurisdiction, as well as this Privacy Policy.

Openness

You have the right to request access to any personal information we hold about you. You can request this information by contacting the Privacy Officer at the details listed below. Where we hold information that you are entitled to access, we will respond to your request in a reasonable time and endeavour to provide you with a suitable range of choices as to how access is provided (e.g, emailing or mailing it to you). A fee may be charged to cover the cost of retrieval. However this fee will not be excessive and will only apply to the facilitation of your request.

If at any time you believe that personal information we hold about you is incorrect, incomplete or inaccurate, then you may request amendment of it and we will either amend the information or make a record of your comment, as we think appropriate.

Questions and complaints

If you have any questions about this Privacy Policy or believe that we have at any time failed to keep one of our commitments to you to handle your personal information in the manner required by the Privacy Act, the APPs or the Code, then we ask that you contact us immediately using the following email: info@thepatternmakers.com.au

We will respond and advise whether we agree with your complaint or not.  If we do not agree, we will provide reasons.  If we do agree, we will advise what (if any) action we consider it appropriate to take in response.  If you are still not satisfied after having contacted us and given us a reasonable time to respond, then we suggest that you contact the Office of the Australian Information Commissioner by:

Phone: 1300 363 992 (local call cost, but calls from mobile and pay phones may incur higher charges). If calling from overseas:+61 2 9284 9749

TTY: 1800 620 241 (this number is dedicated to the hearing impaired only, no voice calls)

TIS: Translating and Interpreting Service: 131 450 (If you don’t speak English or English is your second language and you need assistance and ask for the Office of the Australian Information Commissioner)

Post: GPO Box 2999 Canberra ACT 2601

Fax: +61 2 9284 9666

Email: enquiries@oaic.gov.au

Collection statement for Patternmakers website

When visiting Patternmakers’ web site, the site server makes a record of the visit and logs the following information for statistical and administrative purposes:

  • the user’s server address – to consider the users who use the site regularly and tailor the site to their interests and requirements;

  • the date and time of the visit to the site – this is important for identifying the website’s busy times and ensuring maintenance on the site is conducted outside these periods;

  • pages accessed and documents downloaded – this indicates to Patternmakers which pages or documents are most important to users and also helps identify important information that may be difficult to find;

  • duration of the visit – this indicates to us how interesting and informative Patternmakers site is to candidates; the type of browser used – this is important for browser specific coding

  • In order to optimise Patternmakers web site and better understand it’s usage, we collect the visiting domain name or IP address, Computer Operating System, Browser Type and Screen Resolution

A cookie is a piece of information that an Internet web site sends to your browser when you access information at that site. Cookies are either stored in memory (session cookies) or placed on your hard disk (persistent cookies). The Patternmakers web site does not use persistent cookies. Upon closing your browser the session cookie set by this web site is destroyed and no Personal Information is maintained which might identify you should you visit our web site at a later date.

Terms and conditions for the Audience Outlook Monitor August 2023 Prize Draw

Eligibility

Entry is open to anyone over 16 who has completed the August 2023 Phase (Phase 9) Audience Outlook Monitor survey.

Employees, immediate family members of employees, and employees of any company associated with the Audience Outlook Monitor are ineligible to enter. This includes the research organisations, supporting partners and participating arts and culture organisations.

Entry

The Promotion commences at 01:00AM AEST 2/8/2023 and entries close at 11:59PM AEST 6/8/2023 (Promotion Period).

To enter, Eligible Entrants must provide their email address at the end of the survey during the Promotion Period. The prize draw is being administered via SendinBlue (EU) at www.sendinblue.com.

Only one entry per person.

Winning and prize conditions

The total value of the prize draw is AUD$1,000. This includes 5 x $200 Mastercard e-gift cards.

The winners will be randomly selected at 12:00pm AEDT on 8/8/2023 at 223 Liverpool Street, Darlinghurst NSW 2010.

Winners will be notified by phone/email within two (2) business days of the draw and prizes must be claimed within seven days after notification.

If there are any unclaimed or unwanted prizes within seven days, a subsequent prize draw will be conducted seven days later, at the same time and place as the original draw. Draws will be repeated as needed until a winner accepts the prize.

 
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The top 3 demographic trends you need to know in 2022

The 2021 census data is out and is telling a story about a rapidly-changing nation. Here’s what you need to know.

The 2021 census data is out and is telling a story about a rapidly-changing nation.

The results are in - Australia is more culturally diverse than ever, the country’s age profiles are shifting and our First Nations population is growing. 

Below, we share the scoop on the top 3 biggest demographic shifts underway, and how our cultural and community-based sectors can use these insights to engage larger or new audiences.

We finish with a checklist of actions so you can stay ahead of the shift.

Over a million new migrants have arrived in Australia since the last census.

Source: ABS

More than 50% of Australian residents are born overseas or have a parent born overseas, making us the first English-speaking nation to have a migrant majority. Incredible! Plus, as you can see in the chart, there’s an increase in the proportion of migrants from the Global South (eg. Asia and Africa) between 2016 and 2021, while migrants from England, New Zealand and Italy have decreased.

The many faces of Australia mean that we need to represent and redefine the Australian story. We cannot let diversity be just a buzzword to throw around aimlessly.

We have a responsibility, and an opportunity, to embrace and reflect these cultural shifts, whether it be through the people we hire, the programs we invest in or the audiences we strive to serve.

If you’re wondering what your next step is, we love the Creative Equity Toolkit and their action-oriented approach to increasing cultural diversity in the arts. Check out their resources for Audience Development and Marketing to learn more about trust, reciprocity and cultural democracy.

Millennials and Baby Boomers now have equal numbers across the nation, with Millennials overtaking most capital cities.

Young Australians see arts and culture as central to their lives. According to a report by A New Approach, young people believe ‘arts and culture are embedded in and inseparable from everyday life - it is impossible for them to imagine a world without arts and culture as they access these experiences constantly.’ Read their executive summary below for the key findings and opportunities.

Couple these sentiments with Australia’s shifting age profiles and we can see just how worthwhile it is to tailor our approaches and engage these younger audiences. Many organisations have already tapped into the idea that Millennials and younger are in the market for ‘experiences’, such as immersive and participatory installations that are perfect for sharing on social media (*cough* Van Gogh Alive). 

Take a look at our Young People Attendance Outlook to find out how Millennial and Gen Z audiences are currently feeling about cultural events (spoiler: they’re eager!) and the ways we can overcome barriers to attendance. 

And stay tuned for a new research resource on arts and young people in Spring 2022. Patternmakers, in collaboration with ATYP, is working on a series of key messages and infographics, based on rigorous, quality research, as a part of the National Youth Arts Connections program.

The number of people identifying as Aboriginal and/or Torres Strait Islander increased by over 25% since the last census.

There are now almost one million Indigenous people in Australia and this rapid increase cannot be accounted for by births alone. What we’re seeing is an identification change - people who previously did not state they are of Aboriginal and/or Torres Strait Islander origin are now choosing to do so. 

There are many reasons why Indigenous people may decide not to state their First Nations identity, ranging from fear of government surveillance to the failure of the census in accurately defining and measuring Indigeneity.

Despite this, people are feeling more comfortable declaring themselves as Indigenous and this is an encouraging development.

The census also revealed that traditional languages remain an important part of Indigenous households - with more than 78,000 people speaking an Aboriginal or Torres Strait Islander language at home. First Languages Australia developed an excellent ongoing interactive map, titled Gambay, consolidating the first languages across the country with the help of language centres and community members. Search up your own area to learn about the local languages or keep an eye out for voice recordings and videos provided by the Indigenous community. Go forth and explore!

Checklist of actions

Here are some ideas to help your organisation stay ahead of the shifts occurring:

  • Ensure your leadership, executive teams and board are across the data. Schedule a briefing or send around an email. We love how this interactive scrolling tool by ABC News visualises the data.

  • Have a look at how each of these growing demographic segments are represented in your board (and executive team, and staff) and if needed, read more about implementing diversity strategies.

  • Schedule time in the next strategy meeting for a briefing on demographic trends, and brainstorm what the trends can mean for your organisation or community.

  • Identify community organisations, schools, businesses and publications in your community that serve these growing audiences - and explore how you might connect with them or include them in your partnership strategy.

  • Create (or update) your Audience Development Plan to include new strategies to serve culturally diverse communities, younger audiences and the First Nations population. Check out this guide by The Audience Agency to get started.

  • To be effective and sustainable, audience development should be woven into the fabric of your organisation. The Creative Equity Toolkit signposts a checklist to assess your capacity for successful audience development (page 135).

There’ll be more census updates to come, as the ABS releases new data.

Cover image: Pintupi Women’s Collaborative, Kanaputa, 2010. Obtained from National Gallery of Victoria.

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

 
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Introducing new research resources on art and young people

Watch Tandi Palmer Williams from Patternmakers present for the FUSE Youth Arts Summit as she discusses the National Youth Arts Connections Program - a new research resource in development with ATYP.

What if more people knew about the benefits of the arts for children and young people?

That is the question we’re asking as we develop a new research resource for the National Youth Arts Connections program. The resource will share a set of key messages about the value of the arts for young people - backed up with quality, relevant research.

It emerged from conversations about the need for stronger connections, advocacy, and discussion with governments and funders about what youth performing arts programs can deliver.

Read on to find out what exactly we’re doing, why, and how you can contribute to fulfilling its potential. We’d love your help!

Why develop a new resource?

There’s a growing body of evidence about the value of the arts for children and young people, but much of it is not well known. It’s buried in journals, conference papers and websites all over the country, and the world.

It’s not always in language that the average person can understand, or in a format that can be used and shared.

Many arts workers in the youth arts sector lack the time and resources to read journal articles or engage in research and/or advocacy.

What we’re doing

As a part of the National Youth Arts Connections program, supported by the Ian Potter Foundation, ATYP and Patternmakers identified an opportunity for the knowledge base to be consolidated and shared.

The goal of the project is to curate, design and share a set of evidence-based key messages - i.e. statements about youth arts that can be backed up with infographic, research citations, case studies, and links to further resources.

Presentation: Parables of Value: Introducing the NYAC Research Resources

Watch Tandi Palmer Williams from Patternmakers present for the FUSE Youth Arts Summit as she discusses the new research resource, in development with ATYP.

She provides an overview of some of the challenges and limitations, and calls for input and feedback to strengthen the draft messages.

For your convenience, you can download the presentation slides here.

We’d love your feedback!

Please take a few moments to answer the questions below about NYAC Key Messages. With your help, we can make this resource as useful as possible for all involved.

Thanks to all of those involved so far, including the Australian Theatre for Young People and stakeholders in the National Youth Arts Connections program.

Stay tuned for the final resource in September 2022!

NYAC Key Messages Feedback
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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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Beyond the Bio: Melanie Raveendran

Meet our Digital Marketing Associate, Melanie Raveendran! Join us as we take a few moments to go beyond the bio and get to know our team's newest addition.

Meet our Digital Marketing Associate, Melanie Raveendran! Join us as we take a few moments to go beyond the bio and get to know our team's newest addition.

Tell us a bit about your background Melanie!

I recently graduated from UNSW with a Bachelor of Art Theory and Bachelor of Criminology. I decided I wasn’t ready to stop studying so I’m currently working towards a Master of Art Curating at Sydney University. Despite fears about job stability in the arts, there’s nothing else I’d rather do than learn and work within this sector that empowers, inspires and brings value to our communities.

In terms of previous experience, I’ve worked and volunteered for a range of galleries, museums and events across Sydney, including Blacktown Arts Centre, Carriageworks, the 22nd Biennale, Australian National Maritime Museum and, most recently, the Australian Museum. My responsibilities were oriented around visitor engagement and public programming, allowing me a glimpse into the approaches that successfully capture the audience’s attention. 

I was also employed as an Election Officer in 2019 for both State and Federal elections, as well as a Census Field Officer in 2021. These methodical, data-driven roles were brief but important opportunities to assist the general public.

What is your role at Patternmakers?  

As a Digital Marketing Associate, my role at Patternmakers is to assist the team with their communications efforts, writing, creating and publishing marketing content for various social media platforms, website and EDMs. I was thrilled to join the team and assist Patternmakers with their goal of strengthening the creative industries through research.

What is your favourite type of cultural experience and why? 

I love visiting art galleries and exhibitions. Whether big or small, I enjoy immersing myself within the artist or organisation’s curatorial vision, commending (and sometimes critiquing) how they have constructed a particular experience. Even though my academic background is founded in the arts, I’ll never become tired of consuming it.

Favourite city or the most interesting place you’ve visited or travelled? 

Such a difficult question! The creative in me savoured every thrilling second of New York City, visiting countless galleries and museums, eating cheap and delicious street food and surfing the subway from one end of the city to the other.

I also loved my visits to my parents’ country of birth, Sri Lanka. It’s always such a privilege to hear about my parents’ and grandparents’ upbringing and an even greater privilege to revisit their villages, previously war-torn but now (mostly) peaceful. This little island is rich in culture and I am blessed to have a tight-knit family and Desi community that celebrates and upholds this culture in Sydney.

What do you do outside of Patternmakers? 

Outside of Patternmakers, you’ll find me curating and co-managing The Waiting Room Project, an artist-run initiative that organises monthly exhibitions within the waiting room of the Sydney Sexual Health Centre, aiming to alleviate anxieties within a medical space and prioritise marginalised voices.

In my spare time I love spending time with family and friends, capturing moments on an old film camera and making art.

About the Author

Tandi Williams
Managing Director

Patternmakers’ Founder and Managing Director Tandi Williams is an experienced consultant and arts and culture research specialist.

 
 

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Fact Sheet: Young People Attendance Outlook

Young people are more confident and active than other audiences — though some barriers to attendance remain.

Download the Young People Fact Sheet to discover the attendance outlook for Gen Z and Millennial audiences and key takeaways for encouraging their attendance in light of the challenges.

Young people are eager to re-connect through cultural events — and there are opportunities to overcome barriers to attendance

Read on to find out how young people are feeling about attending cultural events in 2022:

  • In March 2022, 9 in 10 audiences under 25 attended an in-person arts or cultural activity in the past fortnight.

  • Two-thirds (64%) of audiences under 35 are ‘ready to attend whenever permitted’ — higher than audiences generally (59%).

  • Comments from young audiences reveal that two years of missed opportunities has heightened their appreciation for the arts and many are eager to support artists and cultural organisations in the recovery from the pandemic.

  • While young people are optimistic about attending, 1 in 3 are inhibited by financial barriers, compared to 17% of audiences generally.

The latest Fact Sheet uncovers the attendance outlook for audiences aged 16-34, as well as suggested strategies for supporting their attendance:

Below you can access the Young People Attendance Outlook Fact Sheet.

If you would like to request any report in an accessible format, please email Holly at holly@thepatternmakers.com.au.

Click the report to download the Young People Attendance Outlook Fact Sheet

Use the dashboard to get results for your artform and region

Survey data from 8,300 respondents has been uploaded to the dashboard, which now contains insights from almost 90,000 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 six phases throughout 2020 and 2021 and is again being tracked in 2022.

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

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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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