About Patternmakers, Announcements Patternmakers About Patternmakers, Announcements Patternmakers

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

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

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

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

How did it begin?

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

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

Why research is valuable for audiences

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

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

Why the Culture Panel

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

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

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

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

What is it being used for?

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

  • How cost-of-living pressures are affecting audiences attendance at events

  • Exhibition ideas at major cultural institutions

  • Barriers to audience participation in digital theatre and performance

  • How performing arts organisations can best connect with potential attendees.

What makes research worthwhile

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

  • Keep surveys as short and sweet as possible - ensuring that most people complete them in 10 minutes or less

  • Incentivise participants with generous incentives that reflect the time and expertise shared

  • Share the results of research with people who participated, including what changes are being made as a result of the findings

  • Continually strengthen our systems for data protection and privacy, and minimise storage of personally identifiable information.

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

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

Haven’t yet joined?

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

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

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

Read More
Patternmakers Patternmakers

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.

* indicates required
Subscribe to

About the Author

Holly Davison
Senior Research Analyst

 

Categories

Read More
Patternmakers Patternmakers

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.

* indicates required
Subscribe to

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.

 

Categories

Read More
Patternmakers Patternmakers

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
Skip survey header

NYAC Key Messages Feedback

If you’d like us to get in touch with you in relation to your feedback, please leave your name and email address.
 
0%
* indicates required
Subscribe to

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.

 

Categories

Read More
Arts, Tips & Tricks Patternmakers Arts, Tips & Tricks Patternmakers

Why every program manager needs a research toolkit

From 2017 to 2019, Patternmakers developed an Audience Research Toolkit in collaboration with Creative Victoria, Thirst Creative, and almost 300 stakeholders from the Victorian creative arts sector.

In this post, MD Tandi Palmer Williams shares some of the process, and her tips for people using the toolkit to conduct research.

In the past 10 years, audience research has become an essential tool for arts managers.

If you want to reach new people, develop audiences and deepen engagement, then research is part of your core business.

Why we care

Even though we make a living from consulting, I firmly believe that every arts officer, manager and director should have the ability to run their own research processes in-house.

When I first started working in the arts, after seven years in finance and economics, I was amazed at all the powerful, high quality work taking place; programs literally changing people’s lives for the better. But I was also horrified at a dearth of evidence.

Compared to other sectors, the arts has not embraced evidence-based practices (for reasons I recently discussed on LinkedIn) and in 2016 I established Patternmakers with a mission to help build a strong, vibrant, creative ‘data culture’ in the Australian creative industries.

I believed then (and still do) that we need to become proficient in use of data analysis, research and evaluation - and do it in a way that aligns with our values. Research, if done well, should support the creative process, not undermine it. It should be ethical and responsible - and creative!

Which is why, in 2016, that I was thrilled to be the successful tenderer to work with Creative Victoria to develop an Audience Research Toolkit for the small to medium creative arts sector in Victoria.

How it worked

From the outset, it was an ambitious project. Over the following two years, we would undertake a multi-stage development process that included:

  • Research with stakeholders in the creative arts sector, including a series of interviews and a survey of 225 representatives from the small to medium sector

  • Co-design workshops with representatives from regional Victorian galleries, festivals, producers, presenters, Creative Victoria staff and digital agency Thirst Creative

  • Development of tools, templates and guidelines (i.e. long hours workshopping, drafting, editing, proofing)

  • Testing of the tools with eight creative arts organisations from regional Victoria.

Once the tools had been reviewed, revised and signed-off, Creative Victoria worked with Thirst Creative and its own in-house marketing and communications teams to upload all the content online. And, voila!

What we learned

We found through the process that many creative arts organisations want to conduct research, but lack either the time, money, or specialist skills to actually deliver it.

The co-design process showed that the toolkit needed to be accessible, engaging, and dynamic - helping people on their journey. For some, it might be their first ever experience of research, while others would need help to improve the quality of their research activity.

Anecdotally, we had observed that many organisations were already using Survey Monkey to send out surveys. But very few were getting meaningful results. We worked backwards to identify the issues and built tools and guidance to help people do it well, even on a tight budget.

We learned that technical talk would instantly put people off. We had to find ways to talk about technical issues without the jargon. It was a great exercise in simplifying things down to key principles.

How to use the toolkit

My advice for anyone planning audience research is to:

  • Start small. Select an achievable goal (e.g. running a single focus group or a one-off survey) and do it well. You don’t need to survey after every workshop or performance, you just don’t.

  • Incentivise participation. Use a carefully designed cash-equivalent incentive to make sure you get a good response rate. If your results aren’t reliable, it can be a time-waster.

  • Apply insights. Set aside time to analyse, interpret, report and action the results. If you think it’s about collecting data, you’ve missed the point.

  • Communicate. Share your plans with your community. Say thank you to those who participated, and make sure you share what you’ve learned and actioned before you embark on the next thing. People get tired of doing surveys if they don’t see it being actioned.

Feedback

I’m looking forward to seeing how the toolkit is used throughout the sector.

One of my favourite features of the toolkit is the feedback functionality, which allows you to mark helpful and unhelpful tools, and ask questions.

If we can work together to continue refining the tools, the result will be a valuable asset that will benefit us all.

We firmly believe that creative arts organisations that build a strong, creative, vibrant ‘data culture’ are those that will change the world for the better. And we’re already well on the way!

Tandi+new+profile+pic.png

About the Author

Tandi Palmer Williams
Managing Director

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

Between 2013 and 2015, she was Research Manager for the Digital R&D Fund for the Arts, based at Nesta in London.

 

Be in the loop

 

Categories

* indicates required
Subscribe to
Read More