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Arts Nation<br />Toolkits<br />Alison O’Hara<br />Chief Executive<br />Audiences North East<br />Image: A J Cann<br />
2<br />
Proposal<br /><ul><li>Development of toolkits for Family and Community Focused and Dinner and a Show audience segmentsto e...
Design and delivery of pilot engagement projects with arts organisations across the North of England exploring the variety...
The toolkits were drafted first and informed the development of the pilot engagement projects. The learning from the proje...
Toolkit Development<br /><ul><li>Data mining and mapping and profiling of the target audience segments within each region ...
Primary research into the two audience segments – six focus groups (two per region)
All About Audiences drafted Dinner and a Show
Audiences North East drafted Family and Community Focused</li></ul>mima<br />4<br />
Pilot Engagement Projects<br /><ul><li>Audiences North East – Community Exchange – 3-4 organisations in Northumberland and...
All About Audiences – On Your Doorstep approach - test findings of D&S toolkit, offers to encourage attendance, attract ne...
&Co – Rural Touring – test the toolkits with a rural touring scheme, training programme, key issues/challenges for rural t...
Family and Community Focused Toolkit<br />Birdspotting at Gibside<br />6<br />
Recruiting the participating organisations<br /><ul><li>Solicited application
Long list of 15 potential participants and shortlist of 4
Final 3:
The Maltings Theatre & Cinema
Berwick Film & Media Arts Festival
The Bowes Museum
Initial workshop to introduce the F&CF toolkit
Each organisation to complete an action plan proforma
ANE consultancy support to help deliver the pilot engagement activity
Following the activity scripted interviews/feedback session
Expenses of £4.5k</li></ul>Vivienne Westwood at The Bowes Museum<br />7<br />
<ul><li>One of larger segments with some arts engagement
Influencing arts engagement at young age and longer term
Other carers/extended family
Engagement with umbrella organisations, volunteer networks and special interest groups
Rural communities
Programme and develop audiences from diverse communities</li></ul>Why engage with this segment?<br />Newcastle City Hall S...
The engagement cycle<br />Identify<br />Evaluate<br />Understand<br />Deliver<br />Audit<br />Plan<br />9<br />
<ul><li>Profiling your local area
Hot spot maps – show distribution of segment for total adult population within geographic area
Profiling your own data
Postcodes – box office, surveys, database</li></ul>Identify<br />Image: David Arandle<br />10<br />
Family and Community Focused Hot Spots Map<br />Star and Shadow Cinema<br />11<br />
<ul><li>Reasons for engagement
Social motivation
Community cohesion
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Fcf and d&s toolkits presentation

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Presentation on Cultural Toolkits aimed at developing audiences of 'family and community focused' and 'dinner and a show' segments of the UK population.

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Fcf and d&s toolkits presentation

  1. 1. Arts Nation<br />Toolkits<br />Alison O’Hara<br />Chief Executive<br />Audiences North East<br />Image: A J Cann<br />
  2. 2. 2<br />
  3. 3. Proposal<br /><ul><li>Development of toolkits for Family and Community Focused and Dinner and a Show audience segmentsto enable effective targeting of these two segments
  4. 4. Design and delivery of pilot engagement projects with arts organisations across the North of England exploring the variety of approaches in engaging the two segments across different art forms and areas
  5. 5. The toolkits were drafted first and informed the development of the pilot engagement projects. The learning from the projects will then inform the further development and completion of the toolkits.</li></ul>Jay Gunn brings his animal encounters to Centre for Life Halloween 2010<br />
  6. 6. Toolkit Development<br /><ul><li>Data mining and mapping and profiling of the target audience segments within each region (NE, NW and Yorkshire) – carried out by &Co
  7. 7. Primary research into the two audience segments – six focus groups (two per region)
  8. 8. All About Audiences drafted Dinner and a Show
  9. 9. Audiences North East drafted Family and Community Focused</li></ul>mima<br />4<br />
  10. 10. Pilot Engagement Projects<br /><ul><li>Audiences North East – Community Exchange – 3-4 organisations in Northumberland and/or Durham, test F&CF toolkit theory and provide evidence of the mechanisms by which to develop closer links with a community
  11. 11. All About Audiences – On Your Doorstep approach - test findings of D&S toolkit, offers to encourage attendance, attract new attenders and increase frequent attendance
  12. 12. &Co – Rural Touring – test the toolkits with a rural touring scheme, training programme, key issues/challenges for rural touring in engaging with the two segments</li></ul>Killhope<br />5<br />
  13. 13. Family and Community Focused Toolkit<br />Birdspotting at Gibside<br />6<br />
  14. 14. Recruiting the participating organisations<br /><ul><li>Solicited application
  15. 15. Long list of 15 potential participants and shortlist of 4
  16. 16. Final 3:
  17. 17. The Maltings Theatre & Cinema
  18. 18. Berwick Film & Media Arts Festival
  19. 19. The Bowes Museum
  20. 20. Initial workshop to introduce the F&CF toolkit
  21. 21. Each organisation to complete an action plan proforma
  22. 22. ANE consultancy support to help deliver the pilot engagement activity
  23. 23. Following the activity scripted interviews/feedback session
  24. 24. Expenses of £4.5k</li></ul>Vivienne Westwood at The Bowes Museum<br />7<br />
  25. 25. <ul><li>One of larger segments with some arts engagement
  26. 26. Influencing arts engagement at young age and longer term
  27. 27. Other carers/extended family
  28. 28. Engagement with umbrella organisations, volunteer networks and special interest groups
  29. 29. Rural communities
  30. 30. Programme and develop audiences from diverse communities</li></ul>Why engage with this segment?<br />Newcastle City Hall Sunday for Sammy<br />8<br />
  31. 31. The engagement cycle<br />Identify<br />Evaluate<br />Understand<br />Deliver<br />Audit<br />Plan<br />9<br />
  32. 32. <ul><li>Profiling your local area
  33. 33. Hot spot maps – show distribution of segment for total adult population within geographic area
  34. 34. Profiling your own data
  35. 35. Postcodes – box office, surveys, database</li></ul>Identify<br />Image: David Arandle<br />10<br />
  36. 36. Family and Community Focused Hot Spots Map<br />Star and Shadow Cinema<br />11<br />
  37. 37. <ul><li>Reasons for engagement
  38. 38. Social motivation
  39. 39. Community cohesion
  40. 40. Spending time with children
  41. 41. Spending time without children
  42. 42. Primary drivers/barriers
  43. 43. Art forms, programme, activity
  44. 44. Price
  45. 45. Timing
  46. 46. Place
  47. 47. Secondary drivers/barriers
  48. 48. Promotion
  49. 49. People
  50. 50. Processes
  51. 51. Physical evidence</li></ul>Understand<br />2011’s big event?<br />‘Temenos’ by Anish Kapoor and Cecil Balmond, the first of the ‘Tees Valley Giants’, the biggest public art project in the world. Image: Alan Jukes<br />12<br />
  52. 52. <ul><li>Social motivations
  53. 53. Sharing information
  54. 54. Being with like-minded people
  55. 55. Community cohesion
  56. 56. Bringing a community together
  57. 57. Keeping rural communities alive
  58. 58. Personal connectivity
  59. 59. Spending time with children
  60. 60. Quality time together as a family
  61. 61. Educational value
  62. 62. Appreciation of different cultures
  63. 63. Relaxation
  64. 64. Spending time without children
  65. 65. Lack of time
  66. 66. Special experience</li></ul>Reasons for engagement<br />13<br />
  67. 67. <ul><li>Artforms, programme, activity
  68. 68. Dictated by family commitments and community life
  69. 69. Range of art forms
  70. 70. Low cost or free
  71. 71. Variety
  72. 72. Price
  73. 73. Total cost of attending arts activity
  74. 74. Flexibility in pricing
  75. 75. Perception of arts activity
  76. 76. Uniformity of pricing levels across age groups
  77. 77. Timing
  78. 78. Fitting in with children’s routine
  79. 79. Rural communities
  80. 80. Place
  81. 81. Outdoor activities
  82. 82. Parking and public transport
  83. 83. Good information about facilities
  84. 84. Safety
  85. 85. Catering/picnic sites
  86. 86. Rural locations</li></ul>Primary barriers/drivers, quotes and tips<br />Freshest Bairns at Dance City. Image: Barry Self<br />14<br />
  87. 87. <ul><li>Promotion
  88. 88. Pester power
  89. 89. Driving force – influencer in the community
  90. 90. Promotional material
  91. 91. Word of mouth
  92. 92. People
  93. 93. Customer service
  94. 94. Knowledgeable staff
  95. 95. Staff trained in interacting with children
  96. 96. Processes
  97. 97. Range of booking methods
  98. 98. Ability to book in advance
  99. 99. Physical evidence
  100. 100. Low cost/high quality mementoes
  101. 101. Avoid cashing in on captive audience</li></ul>Secondary drivers/barriers, quotes and tips<br />Audience interaction with a water sculpture at The Alnwick Garden<br />15<br />
  102. 102. Willingness to engage<br />SECONDARYDRIVERS/BARRIERS<br />PRIMARY DRIVERS/BARRIERS<br />Physical evidence<br />Promotion<br />Price<br />Timing<br />REASONS FOR ENGAGEMENT<br /><ul><li>Social motivation
  103. 103. Community cohesion
  104. 104. Spending time with children
  105. 105. Spending time without children</li></ul>Art forms, programme, activity<br />Place<br />Processes<br />People<br />
  106. 106. Checklist:<br /><ul><li>Reasons for engagement
  107. 107. Current offer fulfills one or more or reasons why this segment engages?
  108. 108. Potential for your offer to fulfill one or more reasons why this segment could engage
  109. 109. Primary and secondary drivers/barriers to engagement</li></ul>For each driver/barrier:<br /><ul><li>Current activity
  110. 110. Improvements required
  111. 111. Activity planned for the future
  112. 112. Or not possible</li></ul>Audit<br />Star and Shadow Cinema<br />17<br />
  113. 113. Primary barriers/drivers<br />Reasons for engagement checklist<br />Freshest Bairns at Dance City. Image: Barry Self<br />18<br />
  114. 114. Primary barriers/drivers<br />Drivers/barriers to engagement<br />Freshest Bairns at Dance City. Image: Barry Self<br />19<br />
  115. 115. Action Plan Proforma:<br /><ul><li>Objectives – SMART
  116. 116. Tactics
  117. 117. Timescale
  118. 118. Lead responsibility
  119. 119. Resources required – human and financial
  120. 120. Monitoring and evaluation methods</li></ul>Plan<br />Tall Ships Race 2010, Hartlepool<br />20<br />
  121. 121. Primary barriers/drivers<br />Action Plan Proforma<br />Freshest Bairns at Dance City. Image: Barry Self<br />21<br />
  122. 122. Deliver<br />Performance at Durham Streets of Play 2010. <br />Image: Martin Cunningham<br />22<br />
  123. 123. Evaluate<br />The Bowes Museum<br />23<br />
  124. 124. Rinse and repeat…<br />Identify<br />Evaluate<br />Understand<br />Deliver<br />Audit<br />Plan<br />24<br />
  125. 125. Pilot Engagement Activity – The Maltings Theatre & Cinema<br />Objectives<br /><ul><li>To encourage first time F&CF attendees to attend Hairy Maclary 8 September and RSC Hamlet 30 September 2011
  126. 126. To raise awareness of F&CF Maltings offer</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Box office reporting</li></ul>Tactics<br /><ul><li>Purchase map showing hot spots for F&CF in Berwick
  127. 127. Purchase mailing list for selected Berwick postcodes based on map
  128. 128. Joint mailing with BFMAF
  129. 129. In-kind staff support, joint expenses with BFMAF £1.2k</li></ul>25<br />
  130. 130. Pilot Engagement Activity – Berwick Film & Media Arts Festival<br />Objectives<br /><ul><li>To develop F&CF audiences for moving image art and more specifically to increase active participation among young audiences for BFMAF</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Box office reporting
  131. 131. Photographs
  132. 132. Feedback forms – age, postcode, quality of the participant experience</li></ul>Tactics<br /><ul><li>Joint mailing with The Maltings of a leaflet to F&CF audiences for an accessible, day-long drop-in workshop entitled Unravel – the Longest Hand painted Film in Britain, which allows people to draw, scratch and paint onto 16mm film cells. The workshop will finish with a screening of the film cells spliced together
  133. 133. In-kind staff support/venue hire, joint expenses with The Maltings £1.2k</li></ul>26<br />
  134. 134. Pilot Engagement Activity – The Bowes Museum<br />Objectives<br /><ul><li>To develop relationship with the local community and find out more about their characteristics and motivations with particular emphasis on F&CF segment
  135. 135. Recruit Bowes ambassadors to be part of a F&CF panel which will engage long term with the Museum</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Bookings from flyer
  136. 136. Transcription of conversations
  137. 137. Number of people recruited for F&CF panel</li></ul>Tactics<br /><ul><li>F&CF event – including free pass to the Museum, tour by actors, refreshments followed by presentation and customer circle style consultation by two qualitative researchers
  138. 138. Purchase map showing hot spots for F&CF near to Barnard Castle
  139. 139. Direct mail using new style F&CF flyer to recruit participants using qualifying questions
  140. 140. In-kind staff support/venue hire, expenses £2.4k</li></ul>27<br />
  141. 141. Family and Community Focused Toolkit<br />What worked<br />Method for focus group recruitment<br />Engagement cycle could work for other segments<br />Testing the toolkits on the 3 participating organisations was invaluable<br />Tips sections of the toolkit<br />Top Tips<br /><ul><li>Adopt the focus group recruitment method with screening questions
  142. 142. Allow sufficient time for co-ordination of activity
  143. 143. Get the primary drivers/barriers right first, then tackle the secondary drivers/barriers</li></ul>What didn’t<br /><ul><li>Initial hot spots maps insufficient detail
  144. 144. Minimum limit of 800 postcodes for AAI segments problematic for smaller events
  145. 145. Translating hot spots into direct mail campaign tricky
  146. 146. Toolkit needed to acknowledge limited capacity of arts organisations to engage with the full toolkit
  147. 147. Timescale for pilot projects unrealistically tight
  148. 148. Time allocation for development of toolkits and co-ordination way too small</li></ul>28<br />
  149. 149. Dinner and a Show Toolkit<br />Theatre Royal Newcastle<br />Image: © Sally Norman<br />29<br />
  150. 150. <ul><li>The segment is one of the biggest of the 13 and represents almost 20% of the population
  151. 151. The segment is important in both urban and rural locations
  152. 152. D&S already attend certain arts events occasionally – so there is a propensity to attend which can be built upon
  153. 153. The segment represents a broad range of ages and life stages – there is plenty for arts organisations to create opportunities around
  154. 154. D&S are generally well off or financially comfortable – most can afford to visit the arts
  155. 155. Many lead active, sociable lives – they are confident and able consumers</li></ul>Why engage with this segment?<br />AM Live Christmas concerts<br />30<br />
  156. 156. Dinner and a Show Hot Spots Map<br />Star and Shadow Cinema<br />31<br />
  157. 157. Guiding principles for engaging Dinner and a Show<br /><ul><li>The segment seeks a memorable and special experience from the arts
  158. 158. The whole experience is important and the segment expects quality
  159. 159. The social experience is important
  160. 160. Price is important where the unknown is concerned
  161. 161. They expect honest information
  162. 162. Word of mouth is influential
  163. 163. Online is important
  164. 164. Their awareness of the arts is likely to be low
  165. 165. Good access is important for many</li></ul>32<br />
  166. 166. Encouraging more frequent attendance<br /><ul><li>Multi-ticket offers over a period of time
  167. 167. Teaming up with other organisations to offer multi ticket offers across a range of venues and events
  168. 168. Discounts for more challenging events targeted at a D&S audience who visit mainstream events
  169. 169. Loyalty card scheme or similar with a range of discounts off tickets and/or other parts of your offer such as your café, restaurant or shop
  170. 170. Ensuring you have effective mailing list data capture mechanisms and more frequent tailored communications in place</li></ul>Ideas for engaging with Dinner and a Show<br />Rocky Horror Show Sunderland Empire<br />33<br />
  171. 171. Communicating the memorable experience you offer<br /><ul><li>People within the segment have different ideas about what makes something special and memorable
  172. 172. Big, visually spectacular production
  173. 173. Sense of occasion
  174. 174. Some seek to be moved
  175. 175. Others seek learning and personal development in an interesting environment
  176. 176. Some enjoy discovering arts experiences in unexpected places
  177. 177. Others enjoy sharing the experience of the arts with friends and family
  178. 178. Visiting the arts to relax and escape day-to-day life is important to some</li></ul>Ideas for engaging with Dinner and a Show<br />Queen’s Hall Cafe<br />34<br />
  179. 179. Developing the social experience to encourage attendance<br /><ul><li>Assess the quality of your bars and restaurants in your venue
  180. 180. Develop partnerships and packages with local bars and restaurants locally
  181. 181. Raise awareness of your catering offer and of local partnership deals
  182. 182. Think about the different social offerings your organisation makes as this segment covers a wide range of ages
  183. 183. How much does a night out in your venue actually cost (the whole price not just the ticket price)? Is this realistic?
  184. 184. Are there other ways in which you could enhance the social experience you offer eg single nights/stations, keeping the bar open longer, launch events</li></ul>Ideas for engaging with Dinner and a Show<br />Tyneside Cinema<br />35<br />
  185. 185. Pilot Engagement Activity – Warrington Campaign<br />Objectives<br /><ul><li>Working with Pyramid & Parr Hall and Warrington Museum & Art Gallery on joint campaign to raise awareness of Warrington’s Cultural Quarter and to attract D&S segment</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Surveys
  186. 186. Sign up to venue email lists
  187. 187. Restaurant offers redeemed
  188. 188. Post project interviews with staff to gauge increased understanding of D&S</li></ul>Tactics<br /><ul><li>Museum and Art Gallery is taking a display of 60s motorbikes to Parr Hall on 25 September – taking place before a 60s Gold concert. Campaign print will be handed out at this event
  189. 189. Marketing materials which present the offer in an accessible way – print, web page and Facebook/Twitter
  190. 190. Data collection to increase email lists
  191. 191. Communicating the free offer at the Art Gallery
  192. 192. Dedicated web page
  193. 193. Offers developed with local restaurants</li></ul>36<br />
  194. 194. Pilot Engagement Activity – Grundy Art Gallery Campaign<br />Objectives<br /><ul><li>Focus on mass photography exhibition – local focus, big name photographers and contemporary photography
  195. 195. Takes away the risk factor of the ‘unknown’</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Take up of offers at venue
  196. 196. Surveys
  197. 197. Sign up to venue email lists
  198. 198. Post event interviews with staff to gauge increased understanding of D&S</li></ul>Tactics<br /><ul><li>Digital campaign
  199. 199. Development of off shoot website showcasing images from the exhibition
  200. 200. Offer for the shop – high quality crafts</li></ul>37<br />
  201. 201. Pilot Engagement Activity – The Lowry Campaign<br />Objectives<br /><ul><li>Attracting D&S segment to performances by Rambert Dance Company (D&S do not attend dance)</li></ul>Monitoring and Evaluation Methods<br /><ul><li>Box office reporting
  202. 202. Surveys
  203. 203. Restaurant offers redeemed
  204. 204. Post event interviews with staff to gauge increased understanding of D&S</li></ul>Tactics<br /><ul><li>Mailing list campaign targeted mainly at existing D&S audience (segmented by postcode)
  205. 205. Ticket price reduced to £7.50 – originally £21
  206. 206. 25% off in restaurant</li></ul>38<br />
  207. 207. Dinner and a Show Toolkit<br />What worked<br />Gum Tree worked well for focus group recruitment<br />Talking with focus group participants – they were bona fide segment members<br />Incentive offered (£50) for focus group participants (Arcadia group, Amazon or M&S)<br />Focus groups brought the toolkit to life<br />Cross area working – brought out commonalities and differences<br />D&S campaign fitted in well with organisations’ objectives eg local audiences, digital, income generation, audience crossover, development of social offer<br />Top Tips<br /><ul><li>Be careful of how the segments are talked about
  208. 208. Gum Tree for focus group recruitment</li></ul>What didn’t<br /><ul><li>Getting sufficient numbers for the F&CF focus group was tough – most people who applied attended too many events
  209. 209. Timing of projects delayed due to lack of product in the summer
  210. 210. Naming of segments can cause misconceptions eg D&S taken very literally at times
  211. 211. D&S segment includes a great variety of ages and life stages so it can be difficult to develop a checklist of ways to target them</li></ul>39<br />

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