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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.

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Melanie Raveendran
Digital Marketing Associate

 
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BlakDance launches its impact survey

BlakDance has recently launched an impact survey to gather feedback from its stakeholders. The aim is to build an evidence base that both BlakDance, and its stakeholders, can rely on for planning and advocacy work now and into the future.

What is the impact of BlakDance, and what should it prioritise in 2020 and beyond?

Patternmakers is working with BlakDance to seek feedback on its work, and gather input from stakeholders to inform its new strategic plan.

We’ve recently launched an impact survey to gather feedback from BlakDance stakeholders.

The aim is to build an evidence base that both BlakDance, and the First Nations dance sector, can rely on for planning and advocacy work now and into the future.

Take the survey now!

In the survey, stakeholders will be asked questions about their past activities and experiences with BlakDance and the assistance they’ve received. They will also be invited to share their ideas for the future of BlakDance.

Why is this important?

This survey is part of a larger project aiming to catch and keep stories about First Nations Dance over the next three years.

Since the National Indigenous Dance Forum in 2017, BlakDance have been working with arts evaluation specialists Patternmakers on more effective and proactive ways to gather feedback from stakeholders.

The organisation has collaborated on development of a ‘program logic’ and an evaluation framework to help streamline what data is collected, from whom, how often.

Why a survey?

Patternmakers has been conducting a range of interviews and workshops with BlakDance and key stakeholders. These have been informative and helped the evaluators to build a picture of the organisation’s work.

The time is now right for a survey to help to measure and prioritise stakeholder views. Although surveys don’t work for everyone, many stakeholders are already accustomed to completing surveys about other issues, and so BlakDance will test the use of surveys with its stakeholders this year.

Tandi Palmer Williams, Managing Director at Patternmakers says, ‘Instead of sending surveys after every event and interaction, we have agreed to survey stakeholders once in 2019. This data can be used for multiple purposes, including to inform the development of a new strategic plan for the organisation’.

Merindah Donnelly says, ‘At BlakDance, remaining humble is core to our business and we value input to keep us accountable to our communities and sector.’

Image credit: BlakDance

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Dr Catherine Davis
Senior Research Analyst

Catherine has a passion for data storytelling and the arts. She has particular expertise in mixed methods research design as well as community sector research experience.

 
 

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Evaluation Reflections: Performing Lines' Indigenous Community Engagement Coordinator

The team recently completed a collaborative three-year project with Performing Lines, to assist them to evaluate their Indigenous Community Engagement Coordinator position.

Our Managing Director Tandi Palmer Williams sat down with Karilyn Brown and Narelle Lewis of Performing Lines, to pick their brains about the project.

The team recently completed a collaborative three-year project with Performing Lines, to assist them to evaluate their Indigenous Community Engagement Coordinator position.

For those not familiar with Performing Lines, the organisation produces new and transformative performances, and initiates creative and strategic opportunities for diverse contemporary artists whose work pushes boundaries and sparks new conversations. 

They created the Indigenous Community Engagement Coordinator role to assist presenters to develop closer connections with their local Indigenous communities, build their Indigenous audiences, and broaden the reach of Indigenous theatre and dance work being presented in venues across the country. 

Our Managing Director Tandi Palmer Williams sat down with Karilyn Brown and Narelle Lewis of Performing Lines, to pick their brains about the project.
 

What were the main drivers for Performing Lines to initiate this evaluation?

Karilyn: In 2015 Performing Lines was successful in securing Australia Council funding for an Indigenous community engagement pilot project, to be implemented in association with the Blak Lines tour of Head Full of Love. We were delighted to appoint Denise Wilson, a proud Aboriginal woman from the Kamilaroi Nation (around Walhallow, NSW) as Indigenous Community Engagement Coordinator. 

We thought that articulating the benefit and value of this role and the outcomes from the project would be important for the presenters, Performing Lines and the Australia Council. To our knowledge, there was no other program like this in the performing arts in Australia at the time, and we were keen to develop a model that could be applied for future Blak Lines tours, as well as for our non-Indigenous tours in order to continue to build engagement with local Indigenous communities. 

Narelle: We hoped the project may create a blueprint that other organisations may be able to follow in instigating their own community engagement programs, and saw a thorough evaluation as a way of testing this idea.
 

Why did you choose to work with a research agency? 

Karilyn: We wanted professional expertise in the development of the framework for the project's evaluation and report, so that Denise and the team could start collating and compiling relevant information and data from the outset.
 

What is the main thing Performing Lines has taken away from the research?

Karilyn: Following the pilot, we were fortunate to be in a position to continue the ICEC role with Denise on a part time basis. She worked on the 2016 Blak Lines tour of Sugarland, and the 2017 tour of Saltbush, as well as taking on some Associate Producing responsibilities working with Narelle. We set aside resources to create the three evaluations as a suite of case studies for the performing arts sector in Australia. 

Narelle: Denise and I presented insights from the program at the Australian Performing Arts Centres Conference in 2016, and Head Full of Love, the first tour in the study, was also awarded best regional tour of the year. 

The evaluation was also featured in the Australia Council’s Building Audiences research in 2017, as a case study of interest to the wider sector. 

Karilyn: It’s important to have these kinds of evaluations available in a public forum rather than tucked away in the archives as acquittals.

 

For any questions about this work, please contact us at info@thepatternmakers.com.au

You can read more about this project in the Indigenous Community Engagement Coordinator Evaluation report. 

Image: Saltbush – photo courtesy of Performing Lines

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Penny Cannan
Business Administrator

Penny has a background in Art and Design, Communications, Brand Identity and Project Management.  Her broad experience brings a fresh perspective to the team and her passion for all things creative meshes with the Patternmakers vibe.

 

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