SUMMARY REPORT
 

12 Local Surveys of 

Public Participation in the Arts 

A study of the relationship between arts participation levels and the 

supply of local arts programs and facilities in twelve diverse 

communities across the U.S. 

Prepared by
 

AMS Planning & Research Corp.
 

Research Division Report #26 

NATIONAL ENDOWMENT FOR THE ARTS 
12 Local Surveys of Arts Participation Summary Report 

Research Commissioned and Funded by the 

National Endowment for the Arts
 

Research Division
 

Office of Planning, Research, and Budget Coordination
 

Washington DC 20506
 

and Local Area Parmers: 

City of Sedona and the Sedona Cultural Coalition 

City of San Jose Department of Convention & Cultural Affairs 

Broward County Cultural Affairs Council 

Metropolitan Dade County Cultural Affairs Council 

John D. and Catherine T. MacArthur Foundation 

Nevada State Council on the Arts 

Arts Council of Winston-Salem/Forsyth County 

Greater Philadelphia Cultural Alliance 

Pittsburgh Cultural Trust 

Seattle Arts Commission 

This report was prepared by
 

AMS Planning & Research Corp., of Fairfield, CT
 

with assistance from Paul DiMaggio
 

Library of Congress Catalog Card Number 93-084515 
12 Local Surveys of Arts Participation Sunmaary Report 

- CONTENTS .
 

III.
 

IV.
 

Wo
 

Executive Summary ..........................................................................................1 ......


Arts Participation in 12 Local Areas ..................................................................17 .....


mo
 Pittsburgh/Allegheny County, PA ..........................................................20 .....
 B. Las Vegas, NV ....................................................................................24 ........


C. Reno, NV .............................................................................................28 .......


D. Rural Nevada ..............................................................................................
 32 

E. Sedona, AZ .................................................................................................
 36 

F. Winston Salem/Forsyth County, NC ......................................................40 .....


G. Seattle/King County, WA ...........................................................................
 44 

H. Chicago Area .......................................................................................48 .......


I. Philadelphia Area ................................................................................52 .......


J. Broward County, FL ...................................................................................
 57 

K. Dade County, FL .................................................................................63 .......


L. Santa Clara County, CA .......................................................................66 .......


Special Topics .................................................................................................70 .......


mo
 Factors Related to Arts Participation .......................................................70 ....


B. Cross-Discipline Participation Rates ......................................................71 ....


C. Frequency of Participation Data ............................................................72 .....


D. Utilization of Venues by Discipline ...........................................................
 75 

E. Utilization of Venues by Demographic Characteristics ............................77 ...


F. Sources of Information About Arts Events .................................................
 77 

G. Reasons for Not Attending More Often ..................................................... 79
 

Methodology .................................................................................................83 .......


mo
 Survey Research Methodology ...............................................................83 .....


B. Methodology for Research on Local Supply of Arts Activity .....................85
 

C. Summary of Methodologies for the 1982, 1985 and 1992 SPPA’s ..............86
 .

D. Methodological Comparisons and Possible Sources of Bias .......................87
 

E. Uses of the Data ..........................................................................................
 90 

Appendix ........................................................................................................
 91 

A° Data Tables .................................................................................................
 92

B. Sampling Error ....................................................................................93 ......


C. Methodological Comparisons Between Local and National Surveys ........98
 ..

D. Survey Design Comparisons: 12 Local Surveys vs. National SPPA’s .......101
 

E. Survey Form .......................................................................................105 ......


F. Bibliography: Public Participation in the Arts .......................................106
 ..
12 Local Surveys of Arts Participation Summary Report 

I. EXECUTIVE SUMMARY 

This report summarizes the results of a research project commissioned by the Research Division of 

the National Endowment for the Arts to examine arts participation patterns in 12 communities across 

the U.S. The research involved two major components: the administration of an arts participation 

survey to randomly selected households in each area and research into the supply of local arts 

programs and facilities. Survey results for each site were then analyzed in the context of local arts 

activity levels, uncovering a rich and varied texture behind the statistics. 

The Research Division of the Arts Endowment contracted Abt Associates Inc. of Cambridge, MA to 

coordinate and facilitate the survey. A local sponsor in each area assisted in funding the research and 

helped to design sections of their local questionnaire. After 18 months of planning, the surveys were 

conducted by telephone over a three-month period from mid-February to mid-May 1992. In the fall 

of 1992, after survey results had been tabulated, each local sponsor received a preliminary report 

from Abt Associates as well as a computer file with their local data. At that time, the Arts 

Endowment contracted AMS Planning & Research Corp. of Southport, CT to conduct 

complementary research into local arts activity levels and to prepare this summary report. 

The 12 Local Surveys were undertaken to build a better understanding of variations in arts 

participation patterns between different communities and to provide local sponsors with valuable 

information about their areas. With respect to design, the 12 Local Surveys were intended to 

complement the 1992 national Survey of Public Participation in the Arts (SPPA) conducted by the 

U.S. Census Bureau. Each local survey consisted of three components: 

 ̄ A "Core Questionnaire", common to all 12 sites, including arts participation and demographic 

information identical to the 1992 national SPPA 

 ̄ A set of questions, common to all sites but not included in the 1992 national SPPA, concerning 

facilities where arts participation occurred, reasons for not attending more often, and sources of 

information about arts events. 

 ̄ Community-specific modules, developed by the local partners to address specific information 

needs in each community. 

The following table presents a listing of the 12 communities studied, definitions of the geographies 

surveyed, and the local sponsors. 

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12 Local Surveys of Arts Participation	 Summary Report 

PARTICIPATING COMMUNITIES 

Sponsor(s) 

Pittsburgh, PA Allegheny County, PA ­ Pittsburgh Cultural Trust 

Population 1.34 million 

Las Vegas, NV ZIP Codes in the Las Vegas area ­ Nevada State Council on the Arts 

Population 755,000 

Reno, NV ZIP Codes in the Reno/Sparks area ­ Nevada State Council on the Arts 

Population 248,000 

Rural Nevada All remaining ZIP Codes in Nevada ­ Nevada State Council on the Arts 

Population 147,000 

Arizona (Area Code 602) telephone The City of Sedona 

Sedona, AZ exchanges of 282, 284, and 204 ­

Population 15,500 (City of Sedona) 

Winston-Salem, NC Forsyth County, NC ­ Arts Council Winston-Salem/ 

Population 271,000 Forsyth County 

Seattle, WA King County, WA ­ Seattle Arts Commission 

Population 1.55 million 

Cook, Kane, DuPage, Lake, McHenry, John D. and Catherine T. MacArthur 

Chicago Area and Will counties in Illinois ­ Foundation 

Population 7.26 million 

Philadelphia Metropolitan Statistical Greater Philadelphia Cultural 

Philadelphia Area Area (MSA), including parts of NJ ­ Alliance 

Population 4.93 million 

Broward County, FL Broward County, FL - Broward County Cultural Affairs 

Population 1.29 million Council 

Dade County, FL Dade County, FL ­ Metropolitan Dade County Cultural 

Population 1.99 million Affairs Council 

Santa Clara County, CA (excluding City of San Jose Dep’t of 

San Jose, CA	 telephone exchanges in the Gilroy area) -Convention and Cultural Affairs, 

Population 1.54 million Santa Clara County Arts Comm. 

Survey Sampling Methodology 

Using a list-assisted random digit dialing telephone survey approach, households were sampled in 

each of the sites until the goal of approximately 400 interviews was achieved. A stratified sampling 

approach was taken for several of the sites. For example, respondents for the Pittsburgh/Allegheny 

County site were drawn equally from within the city limits of Pittsburgh and from the remainder of 

Allegheny County, so that participation in the two areas could be compared. In Dade County, 

telephone exchanges with a high percent minority population were over-sampled to facilitate 

comparisons between minority and non-minority participation. Similarly, for the Philadelphia site, 

an additional 200 interviews were completed in areas of the city with high percent minority 

populations. Spanish-speaking interviewers were used, as needed, to conduct interviews for three 

sites: Dade County, Broward County, and San Jose/Santa Clara County. 

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12 Local Surveys of Arts Participation Summary Report 

For each household sampled, the person over 18 who had the most recent birthday was the eligible 

respondent. Up to 6 attempts were made to obtain an answered call for each resident~ial number 

dialed. Response rates ranged from 40% in Dade County to 52% for Rural Nevada. ,On average, 

survey administration took 17 minutes. 

Survey results were weighted to compensate for the number of adults (18+) in the household and to 

bring the weighted sample distribution into closer agreement with the actual population of each site 

with respect to age, race, gender, and household income. Weighted percentages are used in the tables 

throughout this report. Table 1 (highlights), below, summarizes participation rates fc,r the eight 

"core" disciplines (seven performing arts disciplines plus ’Art Museums/Galleries’), plus several other 

categories. 

ARTS PARTICIPATION RATES BY SITE 

12 Local Surveys ofPubltc Partldpaflon In the Arts 

Table I
 

(highlights)
 

i5%~’’ Jazz 14% 10% ~% 19% 1~% 16% 16% 12% 20% 14% 19% 15% 

Classical Music 20% 9% 18% 10% 17% 19% 20% 20% 19% 23% 12% 21% 20% 

Opera 5% 3% 9% 2% 4% 4% 7% 5% 7% 12% 7% 8% 6% 

Musicals 25% 20% 19% 12% 24% 17% 26% 32% 24% 34% 20% ,30% 27% 

Pla~s 18% 16% 15% 12% 25% 22% 29% 21% 18% 21% 15% 21% 20% 

IBallet 7% 7% 7% 8% 3% 7% 13% 5% 5% 13% ItO% 9% 7% 

Other Dance 8% 11% 12% 10% 13% 9% 13% 10% 11% 9% 12% 9% 10%
 

Art Museum/Galler~ 38% 39% 41% 39% 77% 32% 52% 42% 44% 41% 35% 44% 42%
 

An~! ors "Core"Disciplines 57% 59% 56% 52% 82% 50% 69% 63% 63% 65% 52% 67% 62%
 

Arts/Crafts Fair or F~sflval 55% 50% 62% 56% 57% 45% 55% 49% 42% 61% 45% 54% 49% 

Movie Theater 72% 67% 68% 63% 84% 65% 78% 77% 70% 75% 63% 78% 73% 

Historic Park/Monument 41% 36% 50% 42% 60% 46% 44% 44% 47% 40% 41% 51% 44% 

Read Books for Pleasure 60% 71% 76% 74% 82% 69% 82% 75% 75% 75% 62% 74% 73% 

Highlights of Survey Re~ull;,S 

Of the 8 "core" disciplines studied, ’Art Museums/Galleries’ attracted the highest participation at 

every site. Rates ranged from 32% (Winston-Salem) to 77% (Sedona), with a 12-site average of 

42%. 

 ̄ ’Musicals’ attracted the broadest audiences among the performing arts disciplines studied, with 

participation rates ranging from 12% (Rural Nevada) to 34% (Broward County) and a 12-site 

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12 Local Surveys of Arts Participation	 Summary Report 

average of 27%. This finding is generally consistent with data from the 1982 and 1985 national 

surveys. 

 ̄	 Both ’Classical Music’ and ’Plays’ had average participation rates of 20% across all sites. 

Broward County had the highest ’Classical Music’ participation rate (23%), while Seattle had the 

highest participation rate for ~Plays’ (29%). 

 ̄	 Relative to the other disciplines studied, both ’Opera’ and ’Ballet’ had lower participation rates 

across all sites (6% and 7% average rates, respectively). Large urban areas did not always have 

higher rates in these categories. For example, Rural Nevada’s ’Ballet’ participation rate of 8% 

was higher than Philadelphia’s 5% rate. Also, Reno’s 9% ’Opera’ participation rate exceeded 

Chicago’s 5 % rate. 

 ̄	 ’Other Dance’, a new category for the 1992 SPPA that includes modern, folk and tap dance, had 

average participation of 10% across all sites and the smallest variation between sites of any 

discipline, ranging from 8% (Pittsburgh) to 13% (Seattle and Sedona). Participation rates for 

’Other Dance’ exceeded rates for ’Ballet’ for all sites except two. In Broward County, ’Ballet’ 

participation (13%) was higher than ’Other Dance’ (9%), and for Santa Clara County, the two 

rates were equal (9%). 

 ̄	 Overall, Sedona respondents were most likely to participate in any of the 8 "core" disciplines 

(82%), followed by Seattle/King County (69%) and San Jose/Santa Clara County (67%), in 

contxast to Winston-Salem/Forsyth County (50%, the lowest rate of the 12 sites studied). 

 ̄	 Among the three Nevada sites, several interesting differences emerged. While Rent and Las 

Vegas closely resemble each other in most categories, Reno’s 18% participation rate for ’Classical 

Music’ is twice the figure for Las Vegas, while jazz attendance is significantly higher for Las 

Vegas (15%) compared to both Rent (10%) and Rural Nevada (7%, lowest of all 12 sites). The 

gaming industry, which floods the Las Vegas and Rent markets with popular entertainment, 

seems to have little effect on arts participation rates among local residents, at least among the 

disciplines studied. 

 ̄	 Despite their geographical proximity, Broward and Dade Counties have very different arts 

participation rates, with significantly higher participation rates observed for Broward County, 

with the exception of ’Other Dance’. The cultural diversity of Dade County is reflected in a high 

level of arts activity outside of the European-based performing arts disciplines (i.e., ’Classical 

Music’, ’Opera’, and ’Ballet’, etc.) which were surveyed. While Dade County’s participation rates 

for the "traditional" disciplines may be lower relative to other sites, participation in other 

disciplines such as ’Ethnic Music’ may be higher, although no data are available to confirm this. 

In addition to arts participation rates, a wealth of data was collected on related topics such as 

frequency of attendance, types of facilities attended, sources of arts information, and reasons for not 

attending more often. Among the most interesting findings from these data are: 

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12 Local Surveys of Arts Participation	 Summary Report 

Frequency of Attendance and Number of Discipline~ Attended 

 ̄	 Over 75% of all participators attended a given discipline three or fewer times. Only 8% of 

participators reported attending more than six performances of a given discipline over the 

preceding 12-month period. 

 ̄	 Of the 77% of Sedona respondents who reported visiting an art museum or galle~3’, the average 

frequency of attendance was 3.95 times, much higher than the average for all sites (2.62 times). 

Conversely, Rural Nevada respondents reported lower participation rates in most disciplines, and 

those who did attend did so less frequently than their counterparts in other sites. 

 ̄	 As frequency of participation increases, respondents tend to fall into higher age, iincome, and 

education brackets. Education levels, particularly, rise consistently with more frequent 

attendance. 

 ̄	 Respondents with incomes over $100,000 were more than three times as likely to attend four or 

more different disciplines as they were to attend only one discipline. 

Venue Utilization 

 ̄	 "Traditional" venue types (i.e., concert halls, theaters, etc.) were used almost exclusively for 

’Opera’ (95%) and ’Ballet’ (90%); the involved technical demands of these types of productions 

and the limited technical capabilities of alternative venue types may account for this trend. 

 ̄ About 10% of all classical music attenders reported attending a ’Church or Synagogue’, 

underscoring the important role of these facilities in the performing arts delivery system. 

 ̄ Hispanic respondents were about three times more likely to utilize ’Civic Centers" (14%) than 

African-American respondents (4%) and White respondents (5%). 

 ̄ African-American and Hispanic respondents used concert halls and opera houses less frequently 

than Whites. 

Sources of Arts Information 

 ̄	 An overwhelming majority of respondents get information about arts events through the media 

(84%, includes ’Newspapers’, "television’, ’Radio’, and ’Magazines’). Much smaller percentages 

obtain information through ~¢¢ord of Mouth’ (24%), ’Targeted Appeal’ ( 16 %), and ’Other’ ( 15 % ). 

 ̄	 Respondents between the ages of 30 and 59 tend to get arts information from ’Newspapers’. 

 ̄	 Respondents aged 60 and over are more likely to receive arts information from ’IVlailings/Flyers’. 

 ̄	 As education levels rise, so does usage of the media for arts information. Also, the most highly 

educated respondents (and also the most wealthy) are much more likely to get arts information 

from ’Mailings/Flyers’. 

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12 Local Surveys of Arts Participation	 Summary Report 

Reasons for Not Attending More Often 

 ̄	 Among those who would like to attend more often, 61% cited one reason - ’Don’t have time’. 

This response overshadows all other reasons by a factor of three. The next two most frequently 

cited reasons relate to cost - ’Overall cost of going to event’ (20%) and ’Cost of tickets’ (19%). 

Ten percent or fewer of respondents cited any other reasons. These findings are generally 

consistent with results of the 1982 and 1985.SPPAs. 

 ̄	 Cost factors were cited by Seattle respondents more frequently than by those at any other site. 

 ̄	 ~roblems related to age/health’ were cited by 12% of Broward County respondents (compared to 

a 6% average for all 12 sites); these respondents also have the highest average age (50) of the 12 

survey sites. 

 ̄	 ’Crime/fear of crime’ was the most important reason for not attending more often for 11% of 

Dade County respondents and for 7% of Broward County respondents, whereas this issue was 

not an important in other survey sites. 

 ̄	 ’Social/personal barriers’ (especially ’No one to go with’) were reported to be important reasons 

for not attending more often for Pittsburgh and San Jose/Santa Clara County respondents, in 

contrast to the other 10 survey sites. According to demographic data, these two areas have a high 

proportion of single households. 

Research on Local "Supply" of Arts Facilities and Program~ 

AMS contacted each local sponsor to determine the extent of existing information regarding cultural 

facilities and programs. In some cases, sponsors were able to provide complete information on 

numbers of performances, cultural attractions, and types of performance facilities from existing 

directories, periodic cultural calendars, and/or annual reports; in other cases sponsors indicated that 

no data existed. A combination of approaches was utilized to obtain data as required including phone 

calls to secondary contacts (e.g., arts service organizations, city and state arts councils, etc.). 

Because of the lack of systematic data collection at the local level, the amount and quality of 

information relating to the supply of arts facilities and programs varies from site to site. 

Relationships between "Supply" and "Demand" 

Arts participation patterns in the 12 sites are a study in diversity and contrast. Relationships between 

the "supply" of arts programming and "demand" for programming (i.e., participation rates) in a 

particular community must at this time be regarded as inconclusive. Nonetheless, this research effort 

uncovered many interesting insights that contribute to a better understanding of the factors which 

influence arts participation. In some cases, participation rates in certain cities seem to be linked with 

a particular arts institution or even a particular production. For example, Sedona’s popular Jazz on 

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12 Local Surveys of Arts Participation Summary Report 

the Rocks festival clearly impacts the area’s jazz participation rate, a conclusion corroborated by the 

finding that 36% of jazz attenders in Sedona reported attending a ’Park or Other Open-Air Facility’. 

In fact, large scale festivals (particularly free events) appear to contribute substantially to some arts 

participation rates. Another example of this relationship is Pittsburgh’s Three Rivers Arts Festival, a 

17-day annual event drawing over 600,000 to flee events in the downtown area. The Festival helps 

to explain the area’s high participation rate for ’Arts/Craft Fairs or Festivals’ (55%). 

More often, a broad supply of programming from both large and small institutions coupled with the 

availability of performance facilities, support high participation rates for a given discipline. 

Seattle/King County’s 29% participation rate for ’Plays’ (ranks highest of 12 sites), is an excellent 

example. Even though several larger companies such as Seattle Repertory Theatre serve a broad 

constituency, nearly 50 small and experimental theatre ensembles provide a wide variety of 

traditional and alternative productions in smaller venues throughout the city. In this case, 

demographic factors also support high theatre participation, notably a younger population with high 

education levels. 

In one case, the opening of a large new facility appeared to have a positive influence on participation 

rates across several disciplines. Despite recording the highest participation rates for ’Classical Music’ 

(23%), ’Opera’ (12%) and ’Ballet’ (13%), Broward County’s supply of arts activity did not seem 

extraordinary in relation to other sites. Local research points to the 1990 opening of the Broward 

Center for the Performing Arts in Ft. Lauderdale as a milestone in the arts community, adding 

significantly to the availability of programming in the traditional performance disciplines. 

Key Findings by Site 

There are no "winners" or "losers" in terms of participation rates, but rather different stories of 

achievement and challenges within each community. A combination of factors including geography, 

demographics, programming levels, facilities, and local traditions create a unique context for arts 

participation at the local level. Key findings for each of the twelve sites are presented below. 

Allegheny County (Pittsburgh), Pennsylvania 

Pittsburgh boasts a rich cultural tradition, the legacy of a booming industrial economy of a bygone 

era. ha recent years, the arts played an important role in revitalizing the downtown area. The 

Pittsburgh Cultural Trust’s Benedum Center serves as the home of the Pittsburgh Ballet Theatre, the 

Civic Light Opera, the Pittsburgh Broadway Series and the Pittsburgh Dance Council. Together with 

Heinz Hall (owned by the Pittsburgh Symphony Society) and the Fulton Theatre, these venues 

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12 Local Surveys of Arts Participation Summary Report 

constitute the core of a thriving cultural district. Area residents benefit from a strong supply of 

dance, opera, classical music, and musical theatre programming. The Pittsburgh Public Theatre 

offers a full season of professional theatre and is complemented by a number of other companies, 

including community theatres and academic institutions. 

 ̄ Pittsburgh’s arts participation is comparable to two of the other major urban areas in the survey, 

Chicago and Philadelphia, but does not quite reach the high participation rates in Seattle/King 

County or San Jose/Santa Clara County. 

 ̄ ’Classical Music’ participation, at 20%, may be related to the presence of a world-class orchestra 

and a steady supply of chamber and choral music performances. 

 ̄ The area’s high rate of participation in ’Arts/Crafts Fairs and Festivals’ (55%) may be related to 

the popular Three Rivers Arts Festival, a 17-day Festival which is held each June and draws 

approximately 600,000 people to the downtown area for free cultural events. 

The study identified a total of 52 venues in Allegheny County, housing nearly 28,000 seats. Of the 

12 sites, Pittsburgh has the highest reported attendance at ’Concert Hall/Opera House’ venues, an 

indication of the importance of the City’s cultural district in the local performing arts delivery system. 

Las Vegas, Nevada 

In recent years Las Vegas has held the title as the fastest growing American city. Local arts 

representatives report an abundant supply of popular entertainment, including pop music, jazz, and 

blues. Touring Broadway musicals, the city’s resident ballet and civic symphony orchestra, and the 

University of Nevada - Las Vegas (UNLV) presenting series bring a wide range of programming to 

the community. Arts administrators, however, note the lack of a professional theatre company and 

suggest that the dearth of small production facilities may be a cause. 

 ̄ Jazz accounts for over 70% of the more than 1,400 performing arts events reported over a recent 

twelve month period. 

 ̄ Attendance at traditional performing arts disciplines is low in comparison to other areas studied, 

particularly in the areas of classical music and opera. The supply of this type of programming is 

limited to a local community orchestra and the UNLV presenting program. 

 ̄ The region’s participation in ’Art Museums/Galleries’ and ’Arts/Crafts Fairs or Festivals’ is about 

average for the 12 sites. 

One of the 19 venues identified in Las Vegas, an outdoor amphitheater seating 18,000 accounts for 

almost half of the total seat count. Of the remaining facilities, nearly half are either ’Bars, Clubs & 

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12 Local Surveys of Arts Participation	 Summary Report 

Dinner Theatres’ or ’Alternative Venues’ (e.g., libraries, schools, etc.). This corroborates the survey
 

finding that Las Vegas arts attenders utilize fewer traditional performing arts venues than any other
 

site (57%, compared to a 70% average for all sites).
 

Reno, Nevada 

Rent, Nevada is also experiencing significant growth and demographic changes and a corresponding 

expansion of arts activity including multi-cultural programming. In addition to resident performing 

arts producers such as the Rent Philharmonic, the Nevada Festival Ballet, the Nevada Opera 

Association, and the community-based Rent Little Theatre, a number of festivals, including an Asian 

Fest and the Basque Festival, seem to have taken hold. Nonetheless, local visual arts facilities have 

closed in recent years due to financial constraints. 

 ̄	 Participation rates for Opera (9%) were the second highest of all sites surveyed. While 

participation rates were high, the low supply of opera performances (9) demonstrates the 

importance of the Nevada Opera Association which produces a summer musical theatre series in 

addition to its regular opera season. 

 ̄	 Rent respondents reported the highest rates of participation in ’Arts/Crafts Fairs and Festivals’ 

and at ’Historic Parks/Monuments’. Annual events which range from a Chili Cook-off, a Rib 

Cook-off, an Italian Fest, an Asian Fest, the Rent Balloon Races, and the Rent Air Races almost 

always include arts/crafts displays as part of the event. Also, Rent area resident,,; appear to be 

voracious readers, with 72% of respondents reporting "read plays, poetry, or novels." 

 ̄	 Over 550 events were identified during a recent twelve month period, with ’Jazz’ and ’Classical 

Music’ accounting for over 75% of activity (485 events).. 

Like their neighbors in other parts of Nevada, Rent/Sparks respondents listed ’visiting art 

museums’ as the single activity they would like to do more often (25%). 

Two large hotel venues, each seating 2,000, host much of the area’s musical theatre activity. 

Traditional venue types (i.e., theatres, concert halls, opera houses, etc.) were attended less frequently 

in comparison to other sites. 

Rural Nevada 

The third Nevada site studied as part of this project, Rural Nevada includes the balance of the state’s 

population excluding Las Vegas and Rent/Sparks. In these more mrai communities, local 

representatives report that the arts are often "the only game in town" for social and entertainment 

activity. Accordingly, a broad range of arts and cultural activity is found across the state. A range of 

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12 Local Surveys of Arts Participation	 Summary Report 

touring programs offered by presenting organizations complement productions mounted by 

community theatre companies. The relatively low supply of programs, however, places Rural 

Nevada participation rates well below average in 5 of the 7 performing arts disciplines. 

 ̄	 Over 20% of Rural Nevada respondents reported attending a live poetry reading over the past 

year - the third highest rate among the 12 sites. The popularity of the annual Elko Cowboy 

Poetry Festival is evidence of this unique cultural tradition. 

 ̄	 High participation in ’Arts/Crafts Fairs and Festivals’ (56%) may be attributed to the statewide 

dispersion of community centers and local libraries which often host these types of events. 

 ̄	 Touting programs sponsored by WESTAF (Western States Arts Federation) and the Nevada 

Presenters Network bring touring ballet companies to several Rural Nevada cities; these 

performances may account for the mid-range of participation rates for ’Ballet’ and ’Other Dance’. 

For Rural Nevada respondents, the most frequently cited barrier to attending more often was 

’Distance/travel time/inconvenient location’ (26%); the frequency of this response highlights the 

geographic isolation of many respondents. 

Sedona, Arizona 

Over the past decade, artists have been drawn to Sedona for the area’s scenic beauty and affordable 

living and studio space. Rising interest in the "American Southwest" cultural aesthetic has helped to 

position Sedona at the forefront of interest in Native American-inspired and traditional design, arts, 

and crafts. While visual arts activities are in abundant supply, access to the performing arts is 

somewhat more limited. Residents often travel to Flagstaff, and even to Phoenix, for large scale 

musical theatre, opera, and classical music performances. 

 ̄	 An unprecedented 77% of all respondents reported participation at ’Art Museums/Galleries’ over 

the past year. The large number of artists living in Sedona, the many ar~ galleries, and the high 

level of programmed activity (studio tours, gallery walks, etc.) clearly translate into high public 

participation. 

 ̄	 Sedona ranks second of the 12 sites in ’Jazz’ participation, at 19%. In addition to regular 

programming in ’nightclub/jazz clubs’, the annual Jazz on the Rocks festival draws close to 5,000 

people each summer. 

 ̄	 Sedona’s high ’Other Dance’ participation rate (13%, compared to a 12-site average of 10%) is 

attributed by local arts administrators to the work of two local dancers who offer classes and 

frequent performances. 

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12 Local Surveys of Arts Participation Summary Report 

 ̄	 Stage plays are the most frequently presented performing arts discipline in Sedona, and the
 

participation rate for ’Plays’ (25%) exceeds the 12-site average of (20%).
 

Winston-Salem, North Carolina 

The Winston-Salem area benefits from a wealth of activity in both performing and visual arts, due in 

part to the presence of several universities and colleges with active arts programs. Resident 

companies such as the Winston-Salem Symphony and the Piedmont Opera Theatre also contribute. 

 ̄	 Participation rates for ~Plays’ (22%) and ’Classical Music’ (19%) meet or exceed the 12 site 

averages. Nearly 70% of the total number of performances reported in a recent twelve-month 

period were in these two disciplines. 

 ̄	 While the total number of venues identified is large, local representatives report that the limited 

number of traditional performing arts facilities (6 of 115) limits the provision of programs 

requiring production facilities. Accordingly, participation rates for ’Opera’ (4%) and ’Musicals’ 

(17%) - which are usually performed in traditional facilities - are below average compared to 

other sites. 

 ̄	 Residents in Winston-Salem reported strong interest in attending ’Classical Music’ more 

frequently; 15% designated ’Classical Music’ as their top priority, the highest percentage of all 

sites for this category. 

King County (Seattle), Washington 

Recognized for its world-class opera company, ballet, and symphony, the City of Seattle remains a 

cultural capital of the Pacific Northwest. Two of the most vibrant areas of arts activity are Seattle’s 

"fringe" theatres and the city’s modern dance community. Demographics of the Seattle area are 

consistent with conditions related to higher arts participation; 1990 census data shows that a third of 

all adults have earned college degrees. The area continues to be a desirable place for young people to 

establish roots. 

Attendance at ’Hays’ in King County is the highest of all 12 sites (29%, compared to a 12-site 

average of 20%). A large inventory of small venues in the 100 - 500 seat range support over 75 

mainstream and "fringe" theatre companies. 

Among the 12 sites studied, King County records the second highest participation rate for ’Art 

Museums/Galleries’ (52%, second to Sedona); this rate is significantly higher than Chicago’s 

(42%) and Philadelphia’s (44%). High community awareness surrounding the recent opening of 

the Seattle Art Museum may have contributed to this remarkable statistic. 

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12 Local Surveys of Arts Participation	 Summary Report 

King County residents rank first among the 12 sites (82%, tied with Sedona) in the category of 

’Reading books for pleasure’. Uniformly high participation rates for other literary categories 

(ranks 1st, 2nd or 3rd in all categories) reflect a well-educated population. 

Nearly three-quarters of all King County respondents (the highest figure for any site studied) 

expressed a desire to participate in the arts more frequently. Financial constraints (i.e., ’Cost of 

tickets’, etc.) were cited most frequently as reasons for not attending more often. A new countywide 

hotel/motel tax fund, of which 70% will be used to fund cultural facilities, ensures continued public 

support of the arts and culture in King County. 

Chicago Area 

With a 1990 census population of 7.26 million, the Chicago site (including 5 counties) is by far the 

most populous of the 12 sites studied, providing a sharp contrast to the rural western sites both 

geographically and demographically. By any standards, the Chicago area is rich with both producers 

and presenters of traditional and non-traditional performing arts activity. Large arts institutions 

include the Chicago Symphony Orchestra, the Lyric Opera of Chicago, the Goodman Theatre, and 

the Chicago Art Institute. Major presenters in the area include the Auditorium Theatre, Performing 

Arts Chicago, the Chicago Jazz Festival and the Ravinia Festival, in addition to a host of educational 

institutions with presenting programs including Northwestern University, DePaul University, 

Columbia College, and the University of Chicago. Theatre companies proliferate in the area, with 

some 200 non-profit theatre companies and more than 80 performing arts facilities of under 300 

seats. Several arts service organizations track performance activity within certain disciplines, 

including the Chicago Dance Coalition, the Chicago Music Alliance, and the League of Chicago 

Theatres. 

 ̄	 Chicago area participation rates for the traditional performing arts disciplines are nearly average 

for the 12 sites studied, reflective of the large size and demographic heterogeneity of the area, 

especially with respect to race, income and education. 

 ̄	 The high rate of attendance at ’Musicals’ (32%, second of all 12 sites) may be due in part to 

Chicago’s inclusion on the first-run Broadway road show circuit as well as to the preponderance 

of theatre companies whose productions often include musical theatre. 

 ̄ Unique to the Chicago site is unusually high utilization of ’Dinner Theatres’ as venues for the 

performing arts (12% of all venue utilization, a figure twice as high as at any other site). 

 ̄ Among Chicago respondents who would like to attend arts events more often, fully 75% (ranks 

1st) expressed an interest in attending ’Art museums/galleries’ more frequently. 

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12 Local Surveys of Arts Participation	 Summary Report 

In terms of exposure to the traditional arts on radio or through recordings, Chicago’s overall 

figure of 83% is the highest of all 12 sites. The Chicago area benefits from a wide range of arts 

programming offered by a number of radio stations including WFMT, WNIB, and WBEZ. 

Challenges facing the Chicago arts community echo those of other large communities; sources report 

that audiences at traditional arts events are "graying" and that arts organizations throughout the area 

are struggling to respond to their increasingly diverse constituencies. 

Philadelphia Area 

The Philadelphia Metropolitan Statistical Area (MSA), which includes several counties in southern 

New Jersey, embraces a diverse arts community with over 30 large arts institutions with budgets over 

$2 million and scores of smaller groups. Several colleges and universities add measurably to the 

supply of arts activity, including student and professional productions and presentations of visiting 

artists in music, theatre, and dance. That culturally diverse programming is a major issue for arts 

groups reflects the area’s 25% minority population. 

 ̄	 With several exceptions, participation rates for the Philadelphia site are similar to rates for the 

Chicago and Pittsburgh/Allegheny County sites, and to the average rates for all 12 sites. 

 ̄	 As a centerpiece of American history, Philadelphia has the highest participation rate for ’Historic 

Parks/Monuments’ (47%) of the large cities studied. Among the area’s historical landmarks are 

Independence Hall, Valley Forge National Park, plus many historic neighborhoods and houses. 

 ̄	 Philadelphia’s rate for ’Classical Music’ participation through television programming, at 50%, is 

the highest of all 12 sites. This rate contrasts sharply with Pittsburgh’s (30%), and is more 

comparable to Chicago’s (46%). The local non-profit station WHYY-TV’s regular offerings of 

classical music programming may contribute to higher participation. 

 ̄	 Of all the urban sites studied, Philadelphia respondents attended ’Alternative Venues’ most often, 

including ’Churches/Synagogues’ (4%) and ’Secondary School Facilities’ (4%). Aside from the 

three Nevada sites, Philadelphia respondents also reported the highest utilization of 

’Nightclubs/Jazz Clubs’ (8%). 

Philadelphia’s inventory of performance facilities is in a state of transition. The arts community 

eagerly anticipates plans for new performance facilities. Major institutions including the 

Philadelphia Orchestra look forward to a new home, while emerging groups await the increased 

availability of existing venues. 

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12 Local Surveys of Arts Participation Summary Report 

Broward County, Florida 

The cultural life of Broward County has changed radically with the influx of new residents and the 

opening of the Broward Center for the Performing Arts in 1990. Representatives of the arts 

community report trends away from the traditional arts programming offered primarily for the benefit 

of seasonal residents during the winter months. More family-oriented fare, such as children’s theatre 

and popular music, now appears on the cultural calendar, even during the summer months. With 

respect to arts activity levels, Ft. Lauderdale clearly benefits from its proximity to Miami and other 

population centers along the South Florida coast. 

Participation rates for traditional performing arts disciplines in Broward County are all above the 

12-site averages, with the exception of ’Other Dance’ performances. 

Overall, 57% of the Broward County residents surveyed attended at least one performance among 

the seven performing arts disciplines studied, the highest figure for all sites. 

Among the 12 sites studied, Broward County respondents reported the highest participation rates 

in the following disciplines: ’Jazz’ (20%), ’Classical Music’ (23%), ’Opera’ (12%), ’Musicals’ 

(34%), and ’Ballet’ (13%, tied for first with Seattle/King County). These very high rates may be 

attributed to a number of factors, including the high public awareness surrounding the opening of 

the Broward Center and the greater availability of leisure time for some residents (i.e., retirees). 

Among Broward County respondents, 29% designated ’Art Museums/Galleries’ as their single 

highest priority for more frequent attendance; a figure significantly higher than those for other urban 

sites such as Santa Clara County, CA (20%) and Seattle/King County, WA (19%). 

Dare County, Florida 

Encompassing the greater Miami area, Dade County, Florida is a rapidly growing community at the 

forefront of cultural change in America, in terms of both growth and diversity. According to 1990 

census figures, approximately half of the population of Dade County is of Spanish origin and about 

20% of the County population is African-American. The number of cultural organizations in Dare 

County increased from 110 in 1983 to nearly 600 in 1991. The resulting demand for resources, 

especially funding and facilities, is the primary challenge of the arts community. 

Arts participation rates in the traditional disciplines do not capture the cultural richness of the 

community. ’Classical Music’ participation for Dare County, at 12%, is the lowest of any urban 

site studied, afihough those who do attend classical music performances go more frequently than 

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12 Local Surveys of Arts Participation	 Summary Report 

their counterparts in other cities. The European-based classical music tradition is not part of the 

cultural heritage of a majority of Dare County’s population. 

 ̄	 Generally, participation rates for disciplines based on the spoken word (i.e., ’Musicals’ and 

~Plays’) are lower for Dade County, while participation rates for ’Ballet’ and ’Other Dance’ (i.e., 

disciplines based on movement) are higher. Although a number of theatre companies present 

performances in Spanish, survey results show.that Hispanic/Latino respondents (from all 12 

sites) are less than half as likely to attend ’Plays’ than White respondents, but are equally as likely 

to attend ’Other Dance’. 

 ̄	 Dare County’s 10% participation rate for ’Ballet’ is twice the figure for Philadelphia and Chicago 

(both at 5%). The Miami City Ballet’s rapid ascent to national prominence (it is currently the 7th 

largest ballet company in the U.S.) and its impact on the local community through regular 

performances, outreach, and education programs may contribute to high participation. 

The recent growth of Miami’s major arts institutions has created demand for new facilities with 

improved technical capabilities. Representatives of the arts community recognize the need to expand 

access to performance facilities - not only for the city’s large organizations but also for its many 

emerging arts groups. 

Santa Clara County, California 

Santa Clara County, at the southern end of the San Francisco Bay Area, has experienced rapid growth 

in population over the past two decades, and the City of San Jose is now one of California’s largest 

centers of commerce and population. Nearly one in five residents is Hispanic/Latino, and a growing 

Asian community represents another 10% of the population.. 

 ̄	 For each of the seven performing arts disciplines studied, participation rates for Santa Clara 

County generally fall in the middle of the distribution for all 12 sites, with a tendency to be 

somewhat higher. 

 ̄	 ’Jazz’ participation, at 19%, is relatively high. In addition to a lively nightclub scene, a summer 

jazz festival takes place throughout downtown San Jose and offers flee performances for three 

days. 

 ̄	 Of particular note in Santa Clara County is the high rate of attendance at ’Historic 

Parks/Monuments’, with 51% of respondents having visited such a site over the past year (ranks 

#2 of the 12 sites). Local representatives report that Kelly Park (a collection of historic buildings 

and replicas near downtown San Jose), the Winchester Mystery House, and Villa Montalvo are 

popular destinations for local residents and visitors. 

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12 Local Surveys of Arts Participation Summary Report 

Santa Clara County respondents reported the highest percentage of attendance at college facilities 

(12%) of all the sites surveyed, with the exception of Las Vegas. Four area educational 

institutions host performing arts activities: San Jose State University, Santa Clara University, 

Stanford University, and Foothill Community College. 

Some of the most exciting cultural developments in the county are in the area of multi-cultural 

performiug arts collaborations involving Asian, Latino, and East Indian music and dance companies. 

The county’s cultural community is striving to develop a supportive infrastructure for arts and culture 

through audience development and outreach activities. 

Conclusions 

Results of this study suggest that supply and demand (for arts activity) do not always have a 

traditional relationship in the economic sense, but rather stimulate each other to achieve higher 

participation levels. In other words, arts programs are not offered solely in response to demand, but 

in some cases can stimulate demand. Where high participation rates were observed, there was also 

high interest in attending those types of events more often. If participation breeds additional interest, 

then, to a degree, supply can stimulate additional demand and a spiraling effect can occur. 

Attempting to understand the local conditions surrounding arts participation levels may eventually 

lead to the transfer of arts development strategies between cities. For example, studying Seattle’s 

theatre community, or Dade County’ dance community, or Sedona’s visual arts community can 

provide clues to stimulating higher participation in these disciplines in other communities. 

Dynamic forces shape different patterns of arts participation in each community. Facilities open and 

close; new insttufions rise to prominence while others struggle to reach new audiences; 

demographics and cultural factors often change rapidly, creating new and different demands for 

programming and facilities. Arts participation rates measured in this study are like a snapshot of a 

long panorama that is constantly changing. Continued research at the local level will add valuable 

context and detail to the national surveys and advance our understanding of the ecology of arts 

participation. 

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12 Local Surveys of Arts Participation Summary Report 

II. ARTS PARTICIPATION IN 12 LOCAL AREAS 

This research project adds an important new dimension to the study of arts participation. In addition 

to measuring arts participation or "demand" for arts programming in 12 diverse communities, another 

component of the research program involved gathering information on the availability or "supply" of 

arts facilities and programs in each of these areas, in order to better understand arts participation 

levels within a context of local conditions. The resulting analysis, in the broadest sense, amounts to 

an exploration of the relationship between "supply" and "demand" with respect to arts participation. 

Analysis of survey data advances our understanding of variations in arts participation levels (and 

other issues) for each site. Additional research into the availability of arts activities breathes life into 

the statistics of arts participation by shedding light on some of the reasons that respondents in a 

particular area attend jazz performances, for instance, as much as they do. 

In order to place this research effort into context with other studies, consider that an individual’s arts 

participation history is a function of both individual and environmental factors. Demographic and 

cultural influences, and especially arts education as a child, help shape a person’s values with respect 

to the arts - their attitudes about arts participation and ultimately their propensity to participate in the 

arts as an adult. Other factors such as ticket prices and the availability of programming affect an 

individual’s ability to participate but are part of the general environment. The arts delivery system in 

any community is a complex marriage of facilities, media, arts producers, presenters, funders, service 

organizations, and other institutions. The "fit" between a community’s arts consumers and their local 

delivery system is the subject of 12 site discussions which appear in this section. 

Despite the fact that some participation rates in certain cities can be linked with a particular arts 

organization or even a particular production, relationships between the "supply" of arts programming 

and "demand" for programming in a particular community are generally inconclusive.1 More 

frequently, a combination of factors including geography, demographics, program off~fings, 

facilities, and local traditions seem to influence participation rates. Throughout the 112 site 

discussions, participation rates which seem to be especially high or low are highlighted and an effort 

is made to discern one or more reasons which might explain the results. Proving causality, however, 

is beyond the scope of this research. The general approach to the site discussions is summarized in 

the diagram on the following page. 

Oualifications to Local D~la 

The quality of local data, such as size and type of facilities, number of arts programs, etc., varies 

substantially from site to site. For the large urban areas studied (Chicago, Philadelphia, Pittsburgh, 

Miami, and Seattle), the supply of arts activities would be difficult if not impossible to measure 

precisely, given the size and complexity of the arts delivery systems in these areas and the vast 

amount of programming. In cases where numbers are not available, an anecdotal approach is taken to 

characterizing the local arts environment, including mention of the area’s major venues and 

institutions. Unfortunately, the limited scope of this summary report does not allow for a full 

treatment of the breadth of arts activity in each site, particularly the alternative venues and small 

performing groups which contribute immeasurably to the arts scene in any community. Specific 

1For example, Broward County’s 34% participation rate for ’Musicals’ is most likely related to a 12-week run 

of Phantom of the Opera, which drew over 250,000 people to the newly opened Broward Center in Ft. 

Lauderdale. 

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12 Local Surveys of Arts Participation Summary Report 

institutions mentioned in the site discussions were selected only to illustrate the range of arts activity 

available in each community. 

APPROACH TO SITE ANALYSIS 

"SUPPLY" RESEARCH "DEMAND" RESEARCH 

(DATA ANALYSIS) 

 ̄ 

 ̄ 

Demographic & Lifestyles Analysis 

Number & Size of Arts Facilities 

 ̄ 

 ̄ 

Participation Rates 

Number of Times Attended 

 ̄ 

 ̄ 

 ̄ 

Types of Arts Organizations 

Number and Type of Arts Programs 

Interviews with Local Representatives 

 ̄ 

 ̄ 

 ̄ 

Types of Venues Attended 

Interest in Attending More Often 

Other Data 

SITE ANALYSIS 

Demographic Characteristics of the Sampled Area
 

Geographical/Locational Issues
 

Anomalous Participation Rates
 

Relationships Between Arts Programs and Participation Rates 

Gaps Between Supply and Demand 

Comparisons Between Similar Sites 

Types of Venues Attended vs. Actual Facility Inventory 

Interest in Attending More Often vs. Supply of Arts Programs 

Several tables are used in each site discussion to highlight relevant data. Initially, definition of the 

geography surveyed and basic information about the sample are presented in a table entitled "About 

the Sample..." Also on the first page of each site discussion is a table summarizing the numbers of 

performances (jazz, classical music, opera, musicals, plays, ballet, and other dance), number of art 

museums, number of art galleries, number of arts/crafts fairs/festivals, and number of historical sites 

(monuments, parks, etc.). Figures for the number of performances are for a recent 12-month period, 

and do not necessarily correspond to the 12-month period over which respondents were asked to 

recall their history of participation. When available, these figures were included to provide a general 

idea of the annual availability of certain types of cultural activities. 

Arts participation rates for each site (weighted data) are displayed in a table on the second page of 

each site discussion. To provide some context, average rates for the 12 sites combined are presented 

in an adjacent column. Figures for the 12 sites combined are not meant to be comparable to figures 

from the national SPPAs, but in fact are only average figures for 12 very dissimilar communities. 

Readers are cautioned not to take these rates out of context. Table 1 in the appendix offers a 

complete picture of participation rates for all 12 sites, along with average figures for all 12 sites plus 

figures from the 1982 and 1985 SPPAs. In most cases, participation rates for the local sites are 

significantly higher than the corresponding rates from the 1982 and 1985 SPPAs. Although it is 

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12 Local Surveys of Arts Participation Summary Report 

probable that participation rates in some of the local areas are indeed higher than national figures, the 

consistency and magnitude of upward variation suggests that methodological differences in the way 

data was collected may account for at least some of this variation.2 

Most site discussions also contain a table showing the number and size of performance venues in the 

area. The many different types of venues are categorized into four groups: 

 ̄ traditional performing arts facilities (concert halls, etc.) 

 ̄ bars, clubs and dinner theatres 

 ̄ college/university venues 

 ̄ alternative venues (churches, parks, etc.) 

In some cases, the large number of small venues, especially nightclubs and churches/synagogues, 

was too difficult to measure precisely, especially for large areas. As a result, these tables do not 

present definitive venue information but rather include information supplied by local sources or 

obtained through secondary research (i.e., facility directories, etc.). 

The last table of each site discussion presents frequency of participation data. Participation rates 

alone show the "breadth" of participation in a community but do not account for how’ many times the 

respondents attended - the "depth" of arts participation. The number of different disciplines attended, 

yet another dimension of arts participation, is addressed briefly in the Special Topics section of this 

report. While most respondents attended any given discipline only once or twice, a small number of 

respondents reported very frequent attendance. For example, some people reported attending jazz 

concerts 50 to 100 times over the preceding year. These observations are not necessarily invalid, but 

they present a statistical problem in that they exert an undue influence when computing average 

figures. Therefore, all frequency of attendance observations greater than 12 were excluded from the 

data set for the purposes of computing mean frequency figures. This subject is explored in more 

detail later in the report. 

2A discussion of methodological differences between the national SPPAs and the 12 Local Surveys may be 

found in the Methodology Section of this report. 

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12 Local Surveys of Arts Participation Summary Report 

Allegheny County (Pittsburgh), Pennsylvania 

Allegheny County, including the City of Pittsburgh, lost nearly ten percent of its population during 

the 1970s and continued to diminish in size through the 1980s to its current population of 1.34 

million. Compared to other major metropolitan areas, the Pittsburgh area is somewhat less culturally 

diverse, with a population that is 88% white, 

11% African-American, and about 1% other 

races. According to 1990 census data, less than About the Sample.. 

1% are Hispanic/Latino. Estimated 1992 median 

income was approximately $30,000, with 24% of Allegheny County was divided into two 

households having incomes over $50,000, and sub-areas for sampling - the City.of 

42% having incomes under $25,000. Pittsburgh and the remainder of Allegheny 

County,. The desired sample size was 

With respect to education levels, 1990 census approximately 200 completed interviews for 

data for Allegheny County show that 23% of each subarea. 

adults (25+) have achieved a Bachelor’s degree or sample size = 411 

higher, while 21% have less than a high school 

education. With respect to other large urban Sample Demographics* 

areas studied, these figures compare favorably to *. 54% female, 46% male 

education levels in Miami/Dade County (19% *: : :86% white, not Hispanic 

college grads, 35% less than H.S.), and 9% ~can-Americaa; 4% all other races 

unfavorably to Seattle (33% college grads, 12% o 20%have incomes > $50,000/y~. 

less than H.S.). Compared to all U.S households, ,. 37% have incomes < $20,000/yr. 

Allegheny County contains significantly more 28% completed college; 7% have graduate 

singles and seniors (over 40% of all households) degrees 

and relatively fewer high and medium-high *weighted data 

income families. Like in other large urban areas, 

many households fall at both extremes of the 

socioeconomic scale. 

Arts Activity in Allegheny County 

Pittsburgh boasts a rich cultural tradition. A number of major philanthropies - the legacy of a 

booming industrial economy of a bygone era - bolster the Pittsburgh’s thriving arts community. 

Symbolizing the important role of the arts in the revitalization of downtown Pittsburgh, the Benedum 

Center for the Arts, a 2,800-seat fully restored movie palace, now serves as an elegant home for the 

Pittsburgh Ballet Theatre, Civic Light Opera, Pittsburgh Broadway Series, Pittsburgh Opera, and the 

Pittsburgh Dance Council. 

The Pittsburgh Cultural Trust, a non-profit organization, was established in 1984 to develop a 

cultural district in Downtown Pittsburgh and to support the arts throughout the region. The Trust 

operates the Benedum Center and the 1300-seat Fulton Theater; it also provides a number of different 

services to the arts community, including workshops, collaborative advertising, publications, and the 

TIX Booth (a non-profit ticketing outlet). These two facilities, along with Heinz Hall (owned by the 

Pittsburgh Symphony Society), constitute a triad of performance facilities within the cultural district. 

Among the area’s major dance presenters are the Pittsburgh Ballet Theatre, the Pittsburgh Dance 

Council, and Dance Alloy. A large portion of the County’s opera and musical theatre performances 

are presented by the Civic Light Opera, the Pittsburgh Opera, and the Opera Theatre of Pittsburgh. 

- 20 ­
12 Local Surveys of Arts Participation Summary Reporl 

Performances of classical music are offered by the 

Pittsburgh Symphony, the Pittsburgh Chamber Music 

Society, and special-interest groups such as the Organ Allegheny County 

Artist Series of Pittsburgh. Choral music is also ,Arts Participation popular in the area, evidenced by a number of active 

vocal ensembles including the Mendelssohn Choir of Rates 

Pittsburgh, the Pittsburgh Camerata, and the Bach 

Choir of Pittsburgh. 

CORE DISCIPLINES
 

The non-profit Pittsburgh Public Theatre supplies a
 Jazz 14% 15%
 

great deal of Pittsburgh’s professional theatre activity,Classical Music
 20% 20%
 

and is complemented by a number of other companiesOpera 5% 6%
 

including the City Theatre Company and Quantum Musicals 25% 27%
 

Theatre. Academic institutions also supply a Plays 18% 20%
 

substantial portion of theatre activity, including the Ballet 7%
 7% 

Carnegie Mellon University Drama Department and Other Dance 8% 1 0% 

the Three Rivers Shakespeare Festival, a program of Art Museum/Gallery 38% 42% 

the University of Pittsburgh. An.v of 8 Core Disciplines 57% 62% 

OTHER DISCIPLINES Pittsburgh’s largest cultural center, The Carnegie, is 

an important institution by international standards, Arts/Crafts Fair/Festival 55% 49%

encompassing the Library of Pittsburgh, Museum of Attend Mov& Theater 72% 73%

Art, Museum of Natural History, Music Hall, and
 Historic Park/Monument 41% 44%

Science Center. The diverse programming of the LITERATURE
 

Carnegie, while emphasizing the visual arts, Read Books for Pleasure 60% 73%
 

represents several cultural disciplines, and enriches Read Plays or Poetry or Novels 63% 69%
 

the lives of both Pittsburgh area residents and tourists. Read Plays 8% 8%
 

.Read Poetry 25% 29% 

Arts Participation in Allegheny County .Read Novels/Short Stories 59% 64% 

Hear Poetry 7% 15% 

Generally, arts participation rates for Allegheny Hear Novels/Books 8% 13% 

County are near or somewhat below average in TELEVISION EXPOSURE comparison to mean figures for the 12 sites combined.i Jazz 31% 36% In comparison to the other large urban areas !Classical Music 30% 44% studied, Pittsburgh compares similarly to Chicago andOpera 16% 23% Philadelphia in many categories, outpaces Musicals 22% 29% Miami/Dade County in several disciplines, but does Plays 22% 27% not reach the high participation rates of Seattle/King An), Dance 31% 36% County or San Jose/Santa Clara County, both of Artists/Art/Art Museums 34% 43% which are similar in size to Pittsburgh/Allegheny An), TV Ea-posure 65% 75% County. 

RADIO OR RECORDINGS 

’Classical Music’ participation in Allegheny County Jazz 40% 51% 

(20%) matches the rates for Seattle and Chicago, and Classical Music 52% 61% 

is slightly ahead of Philadelphia (19%). The Opera 24% 28% 

Pittsburgh Symphony, long considered a world-class Musicals 20% 23% 

orchestra, places Pittsburgh in a class with other Pl~.ys 6% 10%
 

larger cities in the realm of classical music. AlmostAny Radio/Recordings 67% 77%
 

70% of ’Classical Music’ attenders reported last
 

attending a ’Concert Hall/Opera House’ - pointing to the Pittsburgh Symphony’s frequent
 

- 21 ­
 

 

 

12 Local Surveys of Arts Participation Summary Report 

Allegheny County Performing Arts Bars, Clubs & College/Univ. Alternative TOTAL Venues Facilities Dinner Theatres Venues Venues

# of Total # of Total # of Total # of Total # of Total
 

SEATING CAPACITY RANGES Venues Seats Venues Scats Venues Seat~ Venues Seats Venues Scats
 

Ut~ to 300 14 1901 N/A N/A 5 966 7 1050 26 3917 

301 - 850 12 6145 N/A N/A 2 820 4 1875 18 8840 

851 - 1500 1 1350 N/A N/A 2 1871 1 1500 4 4721 

1501 - 2500 1 1950 N/A NIA 0 0 0 0 1 1950 

Over 2501 3 8569 NIA N/A 0 0 0 0 3 8569 

Total Seat Count by Type 31 19915 0 0 9 3657 12 4425 52 27997 

performances at Heinz Hall, a 2,847-seat concert hall. The area’s steady supply of chamber and 

choral music performances may also contribute to such a solid participation rate for ’Classical Music’. 

Pittsburgh’s participation rate for ’Musicals’ (25%), also compares to Seattle (26%) and Philadelphia 

(24%), but falls behind Chicago (32%) and Santa Clara County (30%). The Pittsburgh Broadway 

Series, (a presentation of the Pittsburgh Symphony Society, the Pittsburgh Cultural Trust, and PACE 

Theatrical Group, Inc.), and the Civic Light Opera, draw thousands downtown to the Benedum 

Center and Heinz Hall for musical theatre productions. That relatively few musical theatre attenders 

reported attending any other venue type besides a ’Theatre’ or ’Concert Hall/Opera House’ underscores 

the importance of these downtown venues. 

Participation rates for other performing arts disciplines Allegheny County typically place Pittsburgh between several of the other Mean Frequency of urban sites studied. Pittsburgh’s jazz participation rate of

14% falls between Seattle’s 16% rate and Philadelphia’s Atte da Amo g n nce n 

rate of 12%. Similarly, Pittsburgh’s 18% participation Attenders 

rate for ~Plays’ equals Philadelphia’s rate for that category, 

but falls short of Chicago’s rate (21%), and is well short of 2.26 2.7 

Seattle (29%) in this category. Classical Music 3.25 2.84

Opera 2.15 1.86 

With respect to dance participation, Pittsburgh’s 7% rate Musicals 2.56 2.3

Plays 3.18 2.45 for ’Ballet’ is somewhat higher than Chicago’s and Ballet 1.57 1.77 Philadelphia’s rates of 5%, but behind Miami/Dade Other Dance 1.96 2.03 

County’s rate of 10%. Pittsburgh’s 8% participation rate Art Museum/Gallery 2.2 2.62 

for ’Other Dance’ ranks last among the 12 sites; this lowerArts/Cra~s Fair/Festival 2.3 2.66 

rate may be less related to the supply of dance Historic Park/Monument 2.42 2.85 

performances and more a reflection of the demographic 

characteristics (esp. education levels) of the Pittsburgh area. 

Pittsburgh’s 38% participation rate for ’Museums/Galleries’ falls behind most of the other 11 sites 

studied. Only Miami/Dade County (35%) and Winston-Salem (32%) rank behind Pittsburgh in this 

category. In addition to the Carnegie Museum of Art, the Frick Art Museum also houses a 

permanent collection. A number of other galleries and service organizations, including The Mattress 

Factory, the Pittsburgh Center for the Arts, the Society for Contemporary Crafts, and the Wood 

Street Galleries (a Pittsburgh Cultural Trust project) offer regular exhibitions, as well as several 

educational institutions. 

- 22 ­
12 Local Surveys of Arts Participation Summary Report 

Over half of all Allegheny county respondents (55%) reported attending an ’Arts/Crafts Fair/Festival’ 

during the past 12 months, a rate nigher than at most of the other sites studied, including Cnicago and 

Pniladelpnia, and equal to Seattle’s 55% rate in this category. This result is probably related to the 

popular Three Rivers Arts Festival, a 17-day multi-disciplinary visual and performing arts event held 

each June throughout the downtown area. All of the Festival’s activities - including exhibitions, 

performances, cnildren’s programs, and poetry readings - are flee to the public. Annual attendance at 

the Festival is approximately 600,000. 

Literature participation rates for Pittsburgh are low (or lowest) in comparison to the other sites 

studied. For example, 60% of Pittsburgh/Allegheny County respondents ’Read Books for Pleasure’, 

compared to 82% for Seattle/King County. Aside from the relatively low education levels of the 

Allegheny County population, there is little else to explain these comparatively low rates, particularly 

for attending readings of poetry (7% - lowest of all 12 sites by a wide margin) or of Novels/Books 

(8%). Moreover, one source of literary activity - the Three Rivers Lecture Series - is well-attended, 

according to local sources. 

Despite its relatively large population, Pittsburgh’s media participation rates are also low or lowest 

among the 12 sites studied. While 65% of Pittsburgh respondents reported some television exposure 

to the arts, this rate is 10% to 15% benind similar rates for other large cities and is comparable only 

to the Rural Nevada site (67%), where the supply of television programming is very limited. 

T_ _vpes of Venues Attended 

Almost 80% of all Allegheny County respondents who participated in any of the seven performing 

arts disciplines reported last attending a traditional venue type, a figure just nigher than Seattle/King 

County (78%), and significantly nigher than Cnicago (67%) and Pniladelpnia (65%). Attendance at 

’Concert Hall/Opera House’ - 33% - is the highest for this venue type for all 12 sites by a wide 

margin, and again points to the importance of Heinz Hall and the Benedum Center in the facility 

inventory of the area. Over a third of all jazz attenders last visited a ’Nightclub/Jazz Club’, a figure 

typical of other large urban areas and evidence of a healthy jazz scene. Use of alternative venues 

(esp. churches or synagogues and secondary school facilities) is lowest among comparable sites. 

Interest in Attending More Often 

Two-thirds of Pittsburgh/Allegheny County respondents indicated that they would like to attend arts 

events more often, a figure not significantly different than similar figures for Cnicago and 

Philadelpnia (both 68%), but lower than Seattle/King County (74%) by a significant margin. As at 

other sites, the largest percentage of respondents (62%) expressed an interest in attending 

’Museums/Galleries’ more frequently, followed by ’Musicals’ (59%) and ’Plays’ (56%). 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues provided by the Pittsburgh Cultural Trust_ Information regarding specific cultural
 

institutions was drawn from a variety of publications, including Pittsburgh Arts Resources: 1992-93 Cultural DirectorY,
 

and other publications of the Pittsburgh Cultural Trust.
 

- 23 ­
12 Local Surveys of Arts Participation	 Summary Report 

Las Vegas, Nevada 

Known in recent years as the fastest growing American city, the population of Las Vegas grew by 

nearly 70% during the 1970s and an additional 50% in the 1980s. With a 1990 census count of 

718,804, projections indicate that the city will reach nearly 850,000 residents by 1997. Current 

demographic data indicate that 81% of the population is white, 10% African-American, and 11% of 

Spanish origin (independent of race). Median household income has risen from $19,000 to more 

than $32,000 in just over 10 years, and 1990 

census figures show that 24% of the area’s 

households have an annual income over $50,000. About the Sample... 

A composite view of the area shows a rapidly 

changing community with younger, upwardly  ̄ : 28 Nevada ZIP Codes were sampled, 

mobile new residents (many from southern covering the greater Las Vegas area, 

California) joining traditional families as the new including Henderson and Boulder City Las Vegans. As the largest city in Nevada, Las  ̄ sample size = 402 

Vegas reflects the diversity of lifestyles 

associated with urban areas, including both Samole Demograo_ hics* 

affluence and poverty. * 50% female, 50% male 

 ̄ 78% white, not Hispanic 

Arts Activity in Las Vegas * 7% African-American; 7% Hispanic 

o 19% have incomes > $50,000/yr. 

Local arts representatives speak of the ° .27% completed college, 

community’s great interest in popular 4% have :graduate degrees. 

entertainment, including pop music, jazz, and *weighted data 

blues, all of which are in abundant supply in the 

city’s casinos and showrooms. Touring 

productions of Broadway musicals have also been popular, and the city’s resident ballet and civic 

symphony orchestras have a long tradition of performing in the community. A substantial presenting 

series at the University of Nevada - Las Vegas (UNLV) brings touring dance, music, and theatre 

groups to the region. Figures for the number of performances in each discipline (not counting casino 

shows) were researched carefully by Clark County 

officials (see Table at left). Frequent jazz

Las Vegas Cultural Activity	 programming in hotel bars accounts for a large 

majority of jazz activity in Las Vegas, although about 

75 to 100jazz events were not associated with the 

Art Museums	 hospitality/gaming industry. 12 

Art Galleries 150 

Arts administrators interviewed for this study Arts/Crafts Fairs/Festivals 6 concurred that professional theatre is sorely lacking, I Historic Parks/Sites/Monuments 3 and that the absence of suitable facilities in the range Performing Arts Activity* of 500 to 2,000 seats has hampered the growth of the Jazz 1,063 arts community. On a positive note, several new 

Classical Music 88 libraries planned for the city will feature 300-seat 

Opera 8 auditoria, and outdoor amphitheaters are also planned 

Musicals as features of new city and regional parks. Children’s 46 

Plays theatre and arts/crafts classes continue to grow as 112 young families look for cultural experiences, while the Ballet	 51 city’s arts community faces the challenge of drawing Other Dance	 36 visitors out of casino hotels and into arts programs *Number of Repo’rted Performances over a throughout the city. Recent 12-Month Period 

- 24 ­
12 Local Surveys of Arts Participation Summary Report 

Arts Participation in Las Vegas 

The effect of the gaming industry on arts participation 

in Las Vegas is pronounced. The glut of popular Las Vegas 

programming in the city’s casino showrooms, while a Participation boon to visitors and the local economy, appears to 

influence local arts participation negatively in the Rates 

traditional disciplines, both in terms of supply and 

demand. 

CORE DISCIPLINES 

Attendance at traditional performing arts disciplines isJazz 15% 15% 

quite low in comparison to other urban areas studied, Classical Music 9% 20% 

especially in the areas of classical music and opera. Opera 3% 6% 

This finding is consistent with the relatively low Musicals 20% 27% 

supply of programs in these disciplines. The 9% Plays 16% 20% 

attendance rate for ’Classical Music’ is the lowest of iBallet 7% 7% 

all 12 sites. Representatives of the local arts !Other Dance 11% 10%

community indicate that Las Vegas’s local symphonyArt Museum/Gallery 39% 42% 

orchestra is not well supported in the community andAny of 8 Core Disciplines 59% 62% 

receives no city or county funding. The balance of OTHER DISCIPLINES classical music programming is available primarily Arts/Crafts Fair/Festival 50% 49% through UNLV’s Master Series, which presents Attend Movie Theater 67% 73% touring ensembles at relatively high ticket prices Historic Park/Monument 36% 44% ($15-$45). Attendance at ’Opera’ is the second lowest
 

of all 12 sites at 3% and can be explained by the lack LITERATURE
 

of local productions of opera in Las Vegas. Only two Read Books for Pleasure 71% 73%
 

operatic performances were presented by UNLV last Read Plays or Poetry or Novels 69% 69%
 

year. Read Plays 4% 8%
 

Read Poetry 33% 29% 

Participation rates for ’Jazz’ (15%), ’Ballet’ (7%), and Read Novels/Short Stories 65% 64% 

’Other Dance’ (11%) are all within a few points of the Hear Poetry 13% 15% 

12-site averages. It is interesting to note, however, Hear Novels/Books 9% 13% 

that supply figures indicate twice as many ballet as TELEVISION EXPOSURE other dance performances, though the rate for ’Other Jazz 37% 36% Dance’ attendance is higher. One possible explanation Classical Music 33% 44% may involve the wide variety of casino showroom Opera 16% 23% entertainment in the form of musical and dance Musicals 25% 29% "revues" which feature jazz and tap dance and may bePlays 21% 27% attracting local residents at moderate levels. One An,v Dance 32% 36% positive effect of the Las Vegas gaming industry is Artists/Art/Art Museums 36% 43% the large numbers of local musicians and dancers Any TV E, xposure 69% 75% employed by entertainment promoters) 

RADIO OR RECORDINGS 

Rates for participation in both ’Musicals’ and ’Plays’ Jazz 5 0% 51% 

Classical Music are both well below the 12-site averages; these low 54% 61% 

rates reflect the low supply of programs and, in fact, Opera 18% 28% 

the dearth of appropriate facilities in which to present
 Musicals 16% 23%

or produce these disciplines. Outside of two Plays 7% 1 0%
 

performance facilities at UNLV and the 1,200 seat Any Radio/Recordings 74% 77%

3Where Artists Live. 1980. National Endowment for the Arts - Research Division Report #19, March 1987. 

- 25 ­
12 Local Surveys of Arts Participation Summary Report 

Las Vegas Venues Performing Arts 

Facilities 

Bars, Clubs & 

Dinner Theatres 

College/Univ. 

Venues 

Alternative 

Venues TOTAL 

# of Total # of Total # of Total # ~ Toud # of Total 

SEATING CAPACrrY Venues Seats Venues Seats Venues Seats Venues Seats Venues Seats 

Up to 300 1 300 4 650 2 350 1 300 8 1600 

301 - 850 2 1180 0 0 1 600 2 1150 5 2930 

851 - 1500 0 0 0 0 0 0 2 2900 2 2900 

1501 - 2500 1 2000 0 0 1 2200 0 0 2 4200 

Over 2501 1 7500 0 0 1 18000 0 0 2 25500 

Total Seat Count by T?/~e 5 10980 4 650 5 21150 5 4350 19 37130 

Las Vegas High School Auditorium, there are no performance venues with advanced technical 

capabilities. 

Attendance by Las Vegans at art museums and arts/crafts fairs is about average for the 12 sites, but 

visitation at ’Historic Sites’ is the lowest of all 12 sites at 36%. This figure is somewhat curious 

when considered in light of Reno’s second highest rate of visitation at heritage attractions (50%). 

One explanation may lie in Las Vegas’ geographic isolation from the historic sites scattered around 

Nevada; Rent is closer in proximity to the Lake Tahoe area and to other historic Nevada towns 

(Carson City, Virginia City, etc.). Also, Las Vegas is a relatively young city. 

In terms of reading literature and attending public readings, Las Vegas has comparatively low rates in 

several categories, in contrast to the Rent and the rural Nevada sites. Las Vegas literature 

participation rates include: ’Reading Books for 

Pleasure’ - 71% (ranks 9th of 12 sites); ’Reading 

Plays’- 4% (ranks last); and ’Attending Poetry Las - Mean Readings’ - 13% (ranks 1 lth). Likewise, rates for 

exposure to the arts on televisiOn, on radio, or through Frequency of 

recordings are quite low compared to the 12-site Attendance Among 

averages. Attenders 

One can surmise that the widespread availability of Jazz 2.45 2.7 popular programming at the casino showrooms, Classical Music 2.66 2.84 combined with the relative youth of the city, Opera 1.39 1.86 contributes to lower participation rates in the Musicals 2.2 traditional disciplines. Further research is necessary 2.3 

Plays 2.37 2.45 to determine if Las Vegas residents participate more Ballet 1.47 1.77 actively in other types of cultural events (e.g. popular Other Dance 1.92 2.03 music, etc.) which were not surveyed. Art Museum/Galler~ 3.17 2.62 

Arts/Crafts Fair/Festival 2.29 2.66 T_ _vpes of Venues Attended Historic Park/Monument 3.16 2.85 

Distinctly different patterns of venue utilization may 

be observed among Las Vegas arts attenders, in comparison to other sites. Although Las Vegas 

attenders utilize fewer traditional performing arts venues than any other site (57%, compared to the 

70% average for all sites), college facilities are used more frequently on a relative basis than any 

other site (24%, compared to an 8% average). Almost one quarter of all performing arts attenders 

surveyed reported last attending a college facility; clearly, the UNLV facilities and presenting 

- 26 ­
12 Local Surveys of Arts Participation Summary Report 

program play a crucial role in the local performing arts environment, particularly in the areas of 

classical music, ballet, musicals, and stage plays. 

Parks and open-air facilities are also important venues for Las Vegas, although only two such venues 

are listed in this category: the Las Vegas Silver Bowl (capacity 40,000) and the Silver Mountain 

Ranch State Park (capacity 1,500). These venues account for 30% of jazz attendance and 16% of 

attendance at musical productions. 

Unique to the Las Vegas site is the reported utilization of library venues for performances of classical 

music, stage plays, and musicals. The Las Vegas - Clark County Library District includes 10 

branches with 7 art galleries and various small performance spaces. 

Interest in Attending More Frequently 

Among those who would like to attend arts events more often, 24% indicated that jazz would be their 

top priority, the highest ranking for jazz among all sites. This finding is consistent with the musical 

preferences of a younger population, and most likely reflects the desires of local residents to 

participate more fully in an entertainment scene loaded with headline jazz artists. Another 25% cited 

’Art Museums/Galleries’ as their top priority for attending more often. This high rate, of interest may 

relate to a high public awareness of the area’s 12 museums and 150 art galleries (estimated). 

In contrast to other urban sites studied, only 18% ofLas Vegans who would like to attend arts events 

more often expressed any interest in seeing more opera. The equivalent figure for Chicago was 29% 

and for Seattle 26%. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the Clark County Parks and Recreation Department.
 

- 27 ­
12 Local Surveys of Arts Participation Summary Report 

Reno, Nevada 

The twin cities of Rent and Sparks, just east of Lake Tahoe on Interstate-80, have traditionally 

served as a gaming and recreation vacation mecca for residents of the San Francisco Bay Area. 

Referred to as "the biggest little city in the world," Rent has experienced rapid growth over the past 

20 years (much like Las Vegas to the south) and is projected to continue to grow over the coming 

decade. With a 1990 census population of 238,887, the area is growing at a rate of approximately 

2% per year. Only one-third of households have 

children under 18, 45% are renters, and the 

median age is about 34 years. The racial About the Sample... 

composition of the area is predominantly white 

(91%), with approximately 3.5% Native 14 ZIP Codes were sampled, coveting the 

Americans. People of Spanish origin comprise greater RenotSparks area. 

about 8.6% of the population. The overall ~ple size = 401 

picture is one of a metropolitan area dominated 

by middle and upper-middle class households Samtfle Demogravhics* 

including many younger, upwardly mobile 50% female, 50% mate 

singles and couples just beginning to establish 84% white, not Hispanic 

roots in the community. 4% Native American; 7% Hispanic 

17% have incomes > $50,000/yr. 

Arts Activity in Rent 27% completed college, 6% have graduate 

degrees. 

Parallel to its population growth and * weighted data 

demographic changes, arts activity in Rent is 

moving away from traditional European-based 

programming to a more diverse assortment of multi-cultural performances and festivals. While local 

arts administrators report that efforts to diversify cultural programming have been slow to take hold, 

certain events (e.g., Asian Fest, Basque Festival) have been successful. Resident performing arts 

producers include the Rent Philharmonic, the Nevada Festival Ballet, the Nevada Opera Association, 

and the community-based Rent Little Theatre. Presenting activity takes place primarily at the 

*Number of Reported Performances over a 

University of Nevada-Rent. 

Reno Cultural Activity In terms of visual arts, three contemporary exhibition 

spaces have closed in the past three years due to 

Cultural Attractions financial constraints and controversy surrounding 

Art Museums 1 exhibition of certain works. Local artists report that 

Art Galleries 

Arts/Crafts Fairs/Festivals 

Historic Parks/Sites/Monuments 

Performing Arts Activity* 

30 

50 

50 

the cultural community is slowly maturing through 

the provision of support services and the evolution of 

community-based organizations which are just 

beginning to present cultural events. 

Jazz 

Classical Music 

235 

250 

Arts Participation jn Rcno 

Participation rates for the seven performing arts 

Musicals 5 disciplines surveyed range from high to low, closely 

Plays 

Ballet 

Other Dance 

30 

3 

50 

reflecting the available supply of programming, with 

several exceptions. Attendance at jazz performances 

is the second lowest of all 12 sites, although there 

does appear to be a fair supply of jazz available in 

nightclub settings, often in the city’s casino hotels. Recent 12-Month Period Musical theatre (19%) and drama (15%) participation 

- 28 ­
 

12 Local Surveys of Arts Participation Summzry Report 

rates are significantly lower than the averages for all
 

12 sites (27% and 20%, respectively) and may be
 

attributed to the low supply of musical theatre and
 Rent Arts stage play productions. Rent currently has no 

professional theatre company, nor a presenter or Participation producer of musical theatre. Participation rates for 

’Ballet’ and ’Other Dance’ are within several points of Rates 

the 12-site averages; the Nevada Festival Ballet does < 

occasionally present touring dance companies in Rent, CORE DISCIPLINES providing a fair supply of dance performances. Jazz 10% 15% 

Classical Music 18% 20% Reno’s 9% participation rate for ’Opera’ was the second Opera 9% highest of all 12 sites, behind Broward County (12%). Musicals 19% 27% The supply of opera performances in Rent - 12 

Plays 15 % 20 % performances over the past 12 months - would not tend Ballet 7% 7% to support this figure. One explanation may lie in the OtherDance 12% 10% fact that the Nevada Opera Association produces Art Museum/Gallery 41% 42% musical theatre performances during the summer Any of 8 Core Disciplines 57% 62% months; perhaps some respondents incorrectly 

OTHER DISCIPLINES identified musical theatre participation as opera
 

participation. Arts/Crafts Fair/Festival 62% 49%
 

Anend Movie Theater
 68% 73% 

In terms of attendance at visual arts exhibits and Historic Park/Monument 50% 44% 

historic sites, participation rates in Rent are notable in LITERATURE 

two categories: ’Arts/Crafts Fairs and Festivals’ (62%, Read Books for Pleasure 76% 73% 

the highest of all 12 sites) and ’Historic Read Plays or Poetry or Novels 76% 69% 

Parks/Monuments’ (50%, the third highest of all sites Read Plays 9% 8% 

after Sedona and Santa Clara County). The very high Read Poetry 35% 29% 

participation rate for arts and crafts fairs/festivais is Read Novels/Short Stories 73% 64% 

due in part to the preponderance of special events and HearPoetry 14% 15% 

festivals taking place in the Rent/Sparks area, almost ,HearNovels/Books 13% 13% 

all of which have some arts/crafts displays along with TELEVISION EXPOSURE the main fare. Annual events include a Chili Cook- Jazz 35% 36% Off, Rib Cook-Off, Italian Fest, Asian Fest, Rent Classical Music 43% 44% Balloon Races (drawing close to 150,000 people over Opera 20% 23% 3 days), and the Rent Air Races (drawing in excess of Musicals 28% 29% 200,000). These major events, with sponsorship from Plays 25% 27% the local casinos, generally have modest displays of art Any Dance 37% 36% and craft work. One specialty event is the annual Artists/Art/Art Museums 46% 43% Holiday Season Crafts Fair sponsored by the An~, TV Ex~osure 77% 75% Rent/Sparks Convention & Visitors Authority, where RADIO OR RECORDINGS holiday-oriented craft work is available for sale each 

December. Jazz 46% 51%

Classical Music 61% 61% 

The fact that one of every two survey respondents Opera 22% 28%

reported visiting an historic park/site or monument Musicals 16% 23%

over the past year is also remarkable, and indicates thatP ys 8% 10%

Any Radio/Recordings 74% 77% Rent residents partake of nearby historical attractions 

on a regular basis. Among those who reported visiting an historic park/site or monument over the 

past year, the average frequency of participation was 3.51 times, somewhat higher than the average 

figure of 2.85 times for all 12 sites combined. In addition to its own district of historic homes, Rent 

- 29 ­
 

12 Local Surveys of Arts Participation Summary Report 

Rent Venues Performing Arts Bars, Clubs & College!Univ. Alternative TOTAL Facilities Dinner Theatres: Venues Venues 

# of To~al # of To~ # of # of Total # of Tot~ 

SEATING CAPACITY Venues Sea~ Venue~ Seats Venues Seals Venues Seats Venues Seats 

L~? to 300 2 450 7 740 3 600 1 300 13 2090 

301 - 850 0 0 1 500 1 615 3 1500 5 2615 

851 - 1500 1 1428 0 0 0 0 1 1500 2 2928 

1501 - 2500 2 4000 0 0 o o 0 0 2 4000 

Over 2501 1 5000 0 0 0 0 1 5700 2 10700 

Total Seat Count b~ Type 6 10878 8 1240 4 1215 6 9000 24 22333 

is also close to the historic towns of Carson City and Virginia City which are noted visitor 

destinations and heritage tourism sites. Additionally, the Pony Express Trail, Donner Pass historic 

site, and several historic markers in state and national parks are all within a short drive of the 

Rent/Sparks area. 

Rent residents appear to be voracious readers, recording the highest percentage of all 12 sites for the 

category "read plays, poetry, or novels" (76%). When the figure is broken down for each type of 

literature, Rent ranks first in the "reading novels/short stories" category (73%) and is second only to 

Sedona in the "read poetry" category. Consistent with the literature participation rates of the Rural 

Nevada site, it appears that the literary tradition of the western U.S. is flourishing in the Rent/Sparks 

metropolitan area, as well. 

With regard to arts participation through the electronic 

media and recordings, respondents in the Rent sample 

report average participation rates in comparison to the Rent - Mean other sites, although participation through audio 

recordings is lower in several categories. Rent Frequency of 

residents appear to be less likely than respondents in Attendance Among other cities to listen to recordings of opera or musical 

theatre on the radio, or on records, tapes, or CD’s. Attenders

Jazz 3.25 2.7 Venue T _vpes Attended Classical Music 2.63 2.84 

Traditional venues were last attended by 64% of all Opera 1.93 1.86

Rent arts audiences, compared to a 70% average for Musicals 2.04 2.3

all 12 sites. Among the traditional venue types, iP~s 2.08 2.45

Ballet 2.01 1.77 theatres (39%) and college facilities (10%) were used Other Dance 2.02 somewhat more frequently than average, while 2.03 

Art Museum/Galle ~ 2.59 2.62 concert halls or opera houses were attended less Arts/Crafts Fair/Festival 2.49 2.66 frequently (10%). Two large hotel venues, John 

Ascuaga’s Nugget and the Rent Hilton, each seat
 Historic Park/Monument 3.51 2.85

2,000 and are primarily used for dinner theatre.
 

Musical theatre attenders most likely classified these two large venues as theatres or nightclubs,
 

rather than dinner theatres. This confusion provides an example of the subjective nature of venue
 

type definitions.
 

- 30 ­
12 Local Surveys of Arts Participation Summary Rel~ort 

Attendance at ’Nightclubs/jazz clubs’, at 16%, is the highest for any site. Musicals and jazz are the 

primary disciplines presented in ’Nightclubs/jazz clubs’, although a number of respondents reported 

attending ballet and other dance performances at these venues. High rates of arts attendance at 

nightclubs/jazz clubs are unique to the Nevada sites and are clear evidence of the gaming industry’s 

contribution to entertainment programming and the local facility inventory. 

Interest in Attending More Often 

It is worth noting that like their neighbors in rural areas of the state, residents of Rent/Sparks listed 

"visiting art museums" as the single activity they would most like to do more often (25%, compared 

to 16% for jazz concerts). The data also seem to support the notion that there is an unmet demand for 

cultural events in the area: 71% said they would like to attend cultural events more often, the third 

highest percentage of all sites. When asked why they hadn’t attended more often, fully 20% 

mentioned "cost of tickets" as a primary reason, the third highest percentage citing prohibitive ticket 

prices out of all 12 sites. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the Sierra Arts Foundation.
 

-31 ­
12 Local Surveys of Arts Participation Summary Report 

Rural Nevada 

The Rural Nevada site is composed of the entire state excluding the metropolitan areas of
 

Rent/Sparks and Las Vegas and includes ten towns ranging in population from 1,000 (in Lincoln
 

County) to 40,000 (Carson City). The 1990
 

census count for this area was 140,683, of whom About the Sample...
 

91% are white, 3.5% Native American, and 8.6%
 

of Spanish origin. Nearly half of the households The Rural Nevada site consisted of ten
 

have children under age 18, and almost 38% of communities - Carson City, Ely,
 

residents live in areas classified as "rural". Elko/Carlin, Fallon, Minden/Gardenville,
 

Education levels are relatively low, with 42% Lincoln County, Tomopah/GoldIield,
 

listing high school graduation as the highest grade Virginia City, Winnemucca, and Yerrington.
 

completed and only 14% being college graduates. The sample was allocated to the ten
 

The area includes relatively high concentrations communities proportional to their
 

of upper-middle and middle income families; population share..
 

younger, upwardly mobile singles and couples; sample size = 40i
 

and older, lower income working and retired
 

couples. Samv_ le Demo_m’aNai¢~*
 

 ̄  ̄ 47% female, 53% male 

When considering this site, it is important to note  ̄ 82% white, not Hispanic 

that "rural" does not necessarily mean  ̄ .6% Native American; I0% Hispanic 

agricultural, but rather implies isolation from  ̄ I7% have incomes > $50,000iyr. 

urban areas. Some of the smaller communities  ̄ 19% completed college, 

included in this site are, in fact, home to many 6% have graduate degree. 

professionals and employees of Nevada’s casinos,  ̄ weighted data 

military bases, and community colleges. Local 

representatives report that arts performances and exhibits are frequently attended by ranchers and 

schoolteachers. In one sense, the isolated towns are extremely supportive of cultural programming ­

often the "only game in town" as far as social and 

entertainment activity. 

Rural Nevada Cultural Activity Arts Activiu in Rural Nevada 

A wide range of arts and cultural activity is found Art Museums 11 across the state, evidenced by successful community 

Art Galleries 9 theatre companies and presenting organizations which 

A.rts/C.rafts Fairs/Festivals 19 offer touring attractions. Representatives of cultural 

Historic Parks/Sites/Monuments 12 organizations indicate that audiences are growing

more reluctant to attend experimental or non- Performing Arts Activity* Waditional arts programs. Accordingly, presenters are Jazz 13 offering more traditional fare and theatre companies Classical Music 29 are sticking with the classics. There does not appear to 

be a strong correlation between size of community 

Musicals 13 and arts activity, and it has been reported that 

Plays 28 productions and touting arts presentations in some of 

Ballet 3 the smallest towns (Yerrington, Gardnerville, Minden, 

Other Dance etc.) outweighs the cultural activity in Carson City 17 

(which is also close enough to Rent and South Lake *Number of Reported Performances over a 

Recent 12-Month Tahoe for arts patrons to travel for programs). Period 

- 32­
12 Local Surveys of Arts Participation	 Summary Report 

Arts Participation in Rural Nevada 

In terms of participation, attendance rates for five of the Rural Nevada 

seven performing arts disciplines surveyed are well below 

the averages for the 12 sites; these lower rates reflect the Arts Participatio 

relatively low supply of programs in and isolation of the Rates 

state’s small towns. Two exceptions can be found in the
 

categories of’Ballet’ (5th of 12 sites) and ’Other Dance’
 

(equal to the average for all sites). The higher rates of CORE DISCIPLINES
 

attendance for ballet and dance performances have three ~a~ 7% 15%
 

Classical Music 10% 20% possible explanations. First, touring ballet companies o 

Opera	 2% 6% with underwriting from the Western States Arts FederationMusicals	 12% (WESTAF) and the Nevada Presenters Network -	 27% 

Plays	 12% 20% regularly visit several of the towns in the Rural Nevada Ballet 8% 7% site. Additionally, many of the municipalities have activeOther Dance 10% 10% 

ballet and dance schools, whose dance recitals featuring Art Maseum/Gallery 39% 42% 

student performers are well attended. Third, at least three An7 of 8 Core Disciplines 52% 62% 

of the communities have recently hosted performances byOTItER DISCIPLINES 

a touting Ballet Folklorico Iroupe. Attendance at these Arts/Cra~s Fair/Festival 56% 49% 

performances may have been considered as ’Ballet’ Attend Movie Theater 63% 7~% 

participation by survey respondents, regardless of the Historic Park/Monument 42% 44% 

actual genre of dance performed. LITEItA TURE 

Read Books for Pleasure 74% 73% 

Participation rates for ’Art Museums/Galleries’ and Read Plays or Poetry or Novels 71% 69% 

’Historic Sites’ are within a few percentage points of the Read Plays 6% 8% 

12-site averages, while attendance at ’Art/Crafts Fair or Read Poetry 32% 29% 

Festival’ is significantly higher (56%) than the average forRead Novels/Short Stories 66% 64% 

all 12 sites (49%). Members of the local communities	 Hear Poetry 20% 15%

indicate that festivals and art exhibits often take place in
 Hear Novels/Books 12% 13%

venues such as community centers and libraries and that TELEVISION EXPOSURE
 

they are quite accessible to the general public (more so Jazz 27% 36%
 

than, say, art galleries in urban settings). Reportedly, it isClassical Music 32% 44%
 

also not uncommon to drive in excess of 100 miles for	 Opera 13% 23%

Musicals	 20% 29% events and exhibits in neighboring communities. Plays 19% 27% 

Any Dance 32% 36% Frequency of attendance among audiences is lower than Artists/Art/Art Museums 41% 43% average for all disciplines except ’Art Museums/Galleries’Any TV Exposure 67% 75% 

and ’Historic Sites’, for which the mean frequency of RADIO OR RECORDINGS attendance is somewhat higher than the average. The lowJazz	 36% 51% frequency of attendance figures for performing arts Classical Music 51% 61% disciplines may be attributed both to the limited supply ofOpera	 14% 28% programming and to the long distances separating Musicals 16% 23% 

respondents and venues. Plays 7% 10% 

Any Radio/Recordings 62% 77% 

Perhaps the most fascinating finding from this research is 

that 20% of respondents reported attending a live poetry reading over the past year, the third highest 

participation rate in this category for all 12 sites (after Sedona, AZ and Dade County, FL). One 

annual event which accounts for a good portion of this response is Elko’s Cowboy Poetry Festival, 

which draws visitors from throughout the nation to experience one of the West’s oldest traditions: 

the cowboy poet who recites verse from memory, often around a campfire setting. Even more 

surprising, however, are reports of frequent poetry readings taking place throughout the state in bars, 

- 33 ­
12 Local Surveys of Arts Participation Summary Report 

Rural Nevada Performing Arts Bars, Clubs & College/Univ. Alternative 

TOTAL Venues Facilities :Dinner Theatres, Venues Venues 

# of Total # of Total # of Total # of Total # of Total 

SEATING CAPACTrY Venues Se~s Venues Seats Venues Seals Venues Seats Vermes Seats 

Up to 300 7 1355 9 880 3 300 33 4785 52 7320 

301 - 850 7 3990 1 550 0 0 20 10120 28 14660 

851 - 1500 1 924 0 0 0 0 3 3800 4 4724 

1501 - 2500 0 0 0 0 0 0 1 2500 1 2500 

Over 2501 0 0 0 0 0 0 2 6500 2 6500 

Total Seat Count b~ T~oe 15 6269 10 1430 3 300 59 27705 87 35704 

libraries, and alternative settings. Aside from the cowboy poetry tradition, there appears to be a 

fascination with the spoken word and the traditional art of storytelling in this rural western state. 

Many contemporary American authors have chosen to write about and/or live in the western and 

Mountain states and appear to be conlributing to an historic tradition by helping stimulate a renewed 

interest in literary pursuits by residents of Nevada. 

In terms of media exposure to the arts, participation rates for residents of rural Nevada are generally 

well below those for the other sites; these lower rates reflect a relatively low supply of programming. 

The rate for overall exposure to radio broadcasts or recordings of traditional arts - 62% - is, in fact, 

the lowest of all 12 sites, almost certainly because of the dearth of radio stations available to 

residents of this vast state. 

Venue _Type_ s Attended 

Several striking differences are apparent between the Rural Nevada- venue types attended by Rural Nevada audiences and Mean Frequency of by respondents in other survey sites. As would be
 

expected, fewer "traditional" venue types were Attendance Among z_
 attended by arts participators in the rural Nevada site. Attenders The category ’Concert Hall or Opera House’ only 

accounted for 7% of attendance in comparison to an Jazz 2.55 2.7 average of 18% for all 12 sites combined. ’Civic Classical Music 2.51 2.84 Centers’, on the other hand, were utilized by more than Opera 1.17 1.86 twice as many Rural Nevada arts attenders (25 %, ranks Musicals 1.53 2.3 first). These facilities, which are used for all types of Plays 1.48 2.45 

performances, include community and convention Ballet 1.5 1.77 

centers (e.g., Fallon Community Center, seating 450; Other Dance 1.64 2.03 Wellington Community Hall, seating 250; etc.) located Art Museum/Gallery 2.7 2.62 

in most of the small communities scattered around the Arts/Crafts Fair/Festival 2.19 2.66 

state. Historic Park/Monument 3.11 2.85 

All three of the Nevada sites participating in this study showed high utilization of ’Nightclub/Jazz 

club’ venues, reflecting the abundance of programming in casinos and nightclubs supported by the 

gaming industry. Not only jazz attenders used these venues, but also attenders of ’Musicals’ and 

’Other Dance’. Finally, ’Secondary Schools’ also serve a disproportionate number of arts attenders in 

Rural Nevada (9%, ranks first). School facilities are found throughout the ten communities 

comprising this site, primarily small theatres in the 200 to 700-seat range. 

- 34 ­
12 Local Surveys of Arts Participation Snmmary Report 

Interest in Attending More Often 

64% of rural Nevada respondents indicated an interest in attending cultural events more often. When 

asked about the single cultural activity that they would like to do more often, ’Art Museums/ 

Galleries’ were cited by 36% of all respondents - the highest percentage interested in any single 

activity across all 12 sites. The geographical isolation of respondents is clearly a deterrent to 

increased arts attendance. When asked about the primary reason for not attending arts events more 

frequently, 26% indicated ’distance/travel time/inconvenient location’ as the most significant factor. 

This reason is the most frequently cited barrier to attendance for this site, and Rural Nevada also has 

the highest response rate in this category among all sites. 

Source for demographic and lifestyle data: F_xluifax Marketing Decision Systems, Encinitas, CA.
 

Special thanks to the Nevada State Council on the Arts for collecting and compiling information on arts activities and
 

venues from 10 communities in Rural Nevada.
 

- 35 ­
12 Local Surveys of Arts Participation	 Sununary Report 

Sedona, Arizona 

The Greater Sedona area has grown rapidly over the past decades, from a 1970 population of 8,200 to 

more than 15,500 in 1990. The population is largely white, upper middle income, and almost a third 

are classified as single. Education levels are significantly higher than the national average. The 

overall picture is one of a fairly homogeneous community of middle and upper-middle class 

households with few at the extremes of wealth or 

poverty. Seniors comprise almost a quarter of all About the Sample... households. 

Arts Activity in Sedona  ̄ telephone exchanges 282 and 284 were

sampled (Area Code 602) 

Sedona is remarkable for its large population of
  ̄ 91% reside in ZIP Code 86336.

visual artists and art galleries. Over the past  ̄ includes households in southern Coconino
 

and western Yavapai counties
 decades, artists were drawn to the area’s scenic 

beauty and affordable living and studio space.  ̄ :sample size = 402 

Commercial art galleries soon followed, Samt~Ie Demogra~_ hi¢$* capitalizing on the influx of visitors and growing ̄ population of upper income residents. 54% female, 46% mate 

 ̄ .9t % white, not Hispanic 

Rising interest in the "American Southwest"  ̄ 17% have incomes > $50,000/yr. 

 ̄ 35 % completed :college; cultural aesthetic, especially in art, architecture 8% have graduate degrees. and interior design, has helped to position 

Sedona (along with Flagstaff, Scottsdale, Santa *weighted data 

Fe and Albuquerque) at the forefront of interest 

in Native American-inspired and traditional design, arts and crafts. Three historical museums 

showcasing local and Native American history are located within a 3t-mile radius of Sedona. 

Performing arts presenters in Sedona take advantage 

Sedona Cultural Activity	 of scenic outdoor settings, notably the annual Jazz on 

the Rocks festival, which draws close to 5,000 people 

each summer. Phoenix residents (127 miles to the Cultural Attractions 

south) account for nearly half of the audience for this Art Museums	 1 popular event, while another third of the audience is Art Galleries	 28 drawn from out-of-state. 

Arts/Crafts Fairs/Festivals	 7 

Historic Parks/Sites/Monuments 15 Residents of Sedona are able to partake of community 

Performing Arts Activity* theatre productions and a limited supply of touring 

Jazz 10 arts events, but they frequently travel to nearby 

Classical Music 30 Flagstaff and even to Phoenix for large scale musical 

theatre, opera, and classical music performances. Opera	 4 Representatives of the arts community report that the Musicals 40 lack of a large performance facility (1,000+ seats) or Plays	 75 of a suitably-equipped smaller theatre (250-350 seats)
 Ballet 2 limits the supply of performing arts programs.
 

Other Dance 6
 

*Number of Reported Performances over a Arts Participation in Sedon?.
 

Recent 12-Month Period
 

Sedona’s high ’Jazz’ participation rate of 19% (ranks 

#2 of 12 sites) may be attributed in part to the popular Jazz on the Rocks event held each summer, 

since 36% of jazz attenders reported ’Park or Open-Air Facility’ as the venue they most recently 

- 36­
12 Local Surveys of Arts Participation	 Summary Report 

attended for jazz. Another 21% of jazz attenders saw
 

their last jazz performance in a nightclub/jazz club.
 

Although jazz participation is relatively high, Sedona
 Sedona Arts 

residents who attend jazz go less frequently than their
 

counterparts in other cities (mean frequency of 1.7 Participation
 

times per jazz attender, compared to a 12-site average
 Rates of 2.7 times). 

Sedona respondents also reported comparatively high LIVE PERFORMING ARTS 

participation rates for qalays’ (ranks 2nd) and ’OtherJazz 19% 15% 

Dance’ (ranks 1st with Seattle). The high participationClassical Music 17% 20% 

rate for ’Other Dance’ can be explained in pan by the Opera 4% 6% 

activities of two local resident dancers, each of whomMusicals 24% 27% 

offers classes in modern dance and occasional Plays 25% 20% 

performances in the area. Dance participation may Ballet	 3% 7%

Other Dance continue to rise, as a local presenting organization 13% 10% 

began presenting touring modern dance companies in Any of 7 Perf. Arts Disciplines 54% 52%

1992. OTHER DISCIPLINES 

Art MuseurrgGallery 77% 42% 

Seventy five performances of non-musical stage playsArts/Crafts Fair/Festival 57% 49% 

were reported - nearly twice as many as any other Attend Movie Theater 84% 73% 

discipline for Sedona. ’Theatres’ (34%), followed by Historic Park/Monument 60% 44% 

~Park or Open-Air Facility’ (23%) were the most LITERATURE frequently attended venue types for qalays’. Read Books for Pleasure 82% 73% 

Read Plays or Poetry or Novels 74% 69% With 15 out of 20 venues seating 300 or less, Sedona’s Read Plays	 9% 8% facility inventory favors the types of performances Read Poetry	 42% 29% which are best presented in intimate spaces, including Read Novels/Short Stories 70% 64% plays and small-scale musical productions. Moreover,Hear Poetry	 22% 15% the predominance of ’alternative’ venue types in Hear Novels/Books 20% 13% Sedona (12 out of 20, not including nightclubs) 

promotes the kinds of performances which can best be
 TELEVISION EXPOSURE

adapted to non-traditional performing arts spaces such Jazz 29% 36%
 

as churches, resorts, open-air facilities, and local Classical Music 40% 44%
 

schools. Opera	 17% 23%

Musicals 33% 29% 

Sedona’s small population base and lack of larger	 Plays 34% 27% 

performing arts venues limits the supply of opera, Any Dance 41% 36%

ballet, and classical music, although the Sedona Artists/Art/Art Museums 61% 43%

Chamber Music Society and the Verde Valley Concert
 Any TV Exposure 82% 75%

Association present touting attractions from time to I RADIO OR RECORDINGS
 

time. The relatively low participation rates for Jazz 52% 51%
 

traditional performing arts disciplines correspond to Classical Music 70% 61%
 

the limited supply of product. Out-of town arts Opera 21% 28%
 

participation (including organized bus excursions to Musicals 22% 23%
 

Flagstaff and Phoenix) also factors into these rates. Plays 13% 10%
 

Although Sedona has no college/university performing Any Radio/Recordings 82% 77%
 

arts facilities, 23% of classical music attenders saw
 

their most recent concert at a college facility - most likelyreferring to Northern Arizona University’s 

campus in Flagstaff. 

- 37 ­
12 Local Surveys of Arts Participation Summary Report 

Performing Arts Bars, Clubs & College/Univ. Alternative Sedona Venues TOTAL Facilities Dinner Theatres Venues Venues 

#of Tc~l # of Tc~I # of Total # of Total # of Toud 

SEATING CAPACITY Venues Seats Venues Seats Venues SeaLs Venues Seals Venues Seats 

Up to 300 1 170 7 540 7 710 15 1420 

301 - 850 3 1400 3 1400 

851 - 1500 2 2000 2 2000 

1501 - 2500 0 0 

Over 2501 1 5000 1 5000 

Total Seat Count by Type 1 170 7 540 0 0 13 9110 21 9820 

An unprecedented 77% participation rate for ’Art Museums/Galleries’ places Sedona first among the 

twelve cities studied by a wide margin (Seattle is 2nd with a 52% rate). Sedona not only has the 

highest participation rate in this category, but the mean frequency of participation (3.95 times for 

Sedona) is significantly higher than the average figure for all 12 sites (2.62). The large number of 

artists and art galleries and high level of visual arts activity in the region (i.e. studio tours, gallery 

walks, etc.) clearly U’anslates into high public participation and proves that this community enjoys an 

intensity of interest in the visual arts unique to a handful of American cities. 

The high level of interest in the visual arts also appears to carryover into other artistic disciplines; 

Sedona respondents reported high participation rates for literature, film, historic sites, and performing 

arts through the media. Sedona’s 60% public participation rate for ’Historic Sites’ (ranks 1st among 

the 12 sites) most likely relates to several factors, including the large number of Native American 

landmarks and the historical character of the area. This high rate is underscored by a comparatively 

high mean frequency of participation (3.9 times) compared to other sites. 

Top honors also go to Sedona for attendance at movie Sedona - Mean theatres. Fully 84% of the sampled households 

reported attending the cinema over the past year - the Frequency of 

highest participation rate for any category for all of the Attendance Among 12 sites. These data may reflect both an interest in 

film and a limited supply of entertainment alternatives Attenders 

in this geographically-isolated community. According ,Jazz
 to local representatives, going to the movies is a 1.70 2.70 

’ Classical Music 2.80 2.84 frequent social activity in Sedona. Opera 2.72 1.86 

Musicals 2.23 Sedona residents also show impressive participation 2.30 

Plays rates for literature, ranking high or highest in almost 1.59 2.45 

Ballet 1.23 every category. Most notable are participation rates 1.77 

Other Dance 3.32 2.03 for reading poetry (42%, ranks first) and for attending 

readings of poetry (22%, ranks first). Sedona also Art Museum/Gallery 3.95 2.62 

ranks first (tied with Seattle) for ’Reading Books for Arts/Crafts Fair/Festival 2.49 2.66 

3.90 2.85 Pleasure’. Although figures are not available, a sizable Historic Park/Monument 

community of writers may partially account for a high awareness of literature, in additionto the large percentages of seniors with more leisure time to read. 

- 38 ­
12 Local Surveys of Arts Participation Summary Report 

Arts Participation through the Me.alia 

Despite Sedona’s distance from any large urban area, media participation rates for the arts - both on 

television (82% report watching at least one arts program) and radio/recordings (also 82%) - are high 

across all disciplines. The mountainous landscape of the Sedona area limits the reach of broadcast 

television, creating a strong market for cable TV. Thus, a preponderance of homes laave access to 

arts programming on cable channels. Additionally, Phoenix’s public television station (KAET) draws 

many members from the Sedona area, and students at the Sedona Arts Center are enc, ouraged to 

watch "how-to" visual arts classes offered on KAET. Also contributing to the high media arts 

participation rates may be the limited number of live entertainment alternatives, the availability of 

more leisure time for some residents (i.e. seniors), and a high community consciousness of the arts 

and culture. 

Venues_Type_s A~ended 

Overall, traditional performing arts venues (i.e. theatres, concert halls, opera houses, etc.) were last 

attended by 60% of performing arts attenders in Sedona. Only Las Vegas has a lower figure, at 57%. 

Instead, Sedona arts attenders make use of ~Parks and Open-Air Facilities’ (14%, ranks first), 

’Museums and Galleries’ (8%, ranks first), and ’Secondary Schools’ (6%, ranks second to Rural 

Nevada). Surprisingly, the types of performances most frequently seen in Sedona’s art galleries are 

musicals and stage plays, not classical music. Local school facilities are utilized most frequently for 

’Classical Music’, ’Jazz’, and ’Other Dance.’ 

Interest in Attending More Frequen0y 

With the large supply of art galleries, it is little wonder that residents in this community express a 

strong desire to visit museums and galleries more often. Among those who would like to participate 

in the arts more frequently, 74% expressed an interest in attending museums/galleries more 

frequently, and 27% singled out museums/galleries as the one cultural activity that they would like to 

do more often. Across all 12 sites, ’Art Museums/Galleries’ consistently garner the highest 

percentage of interest among those who would like to participate in the arts more often, although by a 

slimmer margin than at Sedona. ’Musicals’ (63%) and ~Plays’ (60%) also rank high in terms of 

interest among those who would like to attend more frequently, as opposed to ’Opera’ (17%, ranks 

last), which generates relatively little interest in Sedona. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for the number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the Sedona Department of Arts and Culture.
 

- 39 ­
 

12 Local Surveys of Arts Participation	 Summary Report 

Winston-Salem, North Carolina
 

Forsyth County is situated just east of the Appalachian mountain range among the lush green hills 

and tobacco farms of central North Carolina; it includes Winston-Salem and several rural 

communities surrounding the city. Two neighboring cities - Greensboro (20-miles to the east) and 

High Point to the southeast, join Winston-Salem to form a triangle of population centers within easy 

driving distance of each other. Among the 

county’s 1990 population of 265,878, 74% are About the Sample... white, 25% African-American, and other racial 

minorities comprise only 1% of the population. 

More than one-third of households in the area  ̄	 Sampled area includes all of Forsyth

County, North Carolina, including Winston- have children under 18. Salem. (Does not include Greensboro or 

High Point.) Education levels for Forsyth County exceed  ̄	 sample size = 403 national figures but contrast sharply to other 

sites. While 24% of Forsyth County adults (25+) Sam_ale Demograpl~cs* have Bachelor’s degrees, this figure rises to 33% . 54%.female, 46% male for both Santa Clara County and King  ̄	 77% white, not Hispanic; 20% Black County/Seattle, but falls to 19% for Broward  ̄	 23% have incomes > $50,000/yr. County. The U.S. average is 20%.  ̄	 28% completed college; 

7% have graduate degrees In addition to the large percentages of country *weighted dam families and low-income urban dwellers, Forsyth 

County also includes strong numbers of affluent 

families (almost 10% of all households). With estimated 1992 median household income at $32,320, 

the area closely resembles Broward County, FL from an economic standpoint and compares 

favorably to the $29,920 median income for 

Allegheny County, PA (Pittsburgh). 

Winston-Salem Cultural Activity 

Arts Activity in Fors_vth Coun[y 

Cultural Attraction~ 

The Winston-Salem area benefits from a wealth of Art Museums 	 4 

activity in both performing and visual arts disciplines. Art Galleries	 27 The Winston-Salem Symphony and the Piedmont A_rts/Crafts Fairs/Festivals 15 Opera Theatre contribute to a lively musical scene, , Historic Parks/Sites/Monuments although local productions in the areas of chamber Performing Arts Activity* music, choral music, and dance are limited. In part, 

Jazz 30 the generally high level of arts activity is due to the 

Classical Music 83 presence of several colleges and universities with 

Opera active arts programs, including Wake Forest, 

Musicals	 Winston-Salem State, Salem College, and especially 36 the North Carolina School of the Arts, which presents Plays	 190 over 500 performances in five theatres annually Ballet	 12 (including student productions, faculty recitals, etc.). Other Dance	 31 

*Number of Reported Peo~ormances over a Jazz music performances are limited, for the most Recent 12-Month Period part, to activity in local clubs. Representatives of the 

local cultural community indicate a need for facilities 

in the range of 750 - 900 seats and a major hall of at least 3,500 seats. Reynolds Auditorium, one of 

the area’s larger facilities (capacity 1,922), badly needs capital improvements according to local 

SOurceS. 
12 Local Surveys of Arts Participation Summary Report 

A variety of high quality crafts shows, sponsored by 

the Piedmont Craftsmen, the Carolina Crafters, and 

the Winston-Salem Crafts Guild, takes place annually Winston-Salem 

at the Convention Center. Several small community Arts Participation non-profit galleries also offer exhibition opportunities 

for local artisans. Old Salem, a major historical Rates 

attraction, draws many thousands of visitors to the 

area annually and serves as a focal point for local 

cultural activity. CORE DISCIPLINES 

Jazz 13% 15% 

Arts Participation in Forsyth County Classical Music 19% 20% 

Opera 4% 6% 

Generally, arts participation rates in Forsyth County Musicals 17% 27% 

are average or below average compared to the 11 other Play. s 22% 20% 

sites studied. Participation rates for ’Jazz’(13%), Ballet 7% 7% 

’Classical Music’ (19%), ’Opera’ (4%), ’Ballet’ (7%), Other Dance 9% 1 0% 

and ’Other Dance’ (9%) are not significantly different Art Museum/Gallery 32% 42% than average figures for the combined 12 sites. Any of 8 Core Disciplines 50% 62% 

Overall, only 50% of Forsyth County respondents OTHER DISCIPLINES reported attending at least one of the 8 "core" 

disciplines (7 performing arts disciplines plus ’Art Arts/Crafts Fair/Festival 45% 49%

Museums/Galleries’) surveyed - the lowest rate for any Attend Movie Theater 65% 73%

Historic Park/Monument site. This rate is comparable to Rural Nevada (52%) 46% 44%
 

and Dade County, FL (52%) but well behind the largerLITERATURE
 

urban sites studied (e.g., Seattle at 69% "core" Read Books for Pleasure 69% 73%
 

participation). Mean frequency of attendance among Read Plays or Poetry or Novels 66% 69%
 

those who do participate is also lower than average Read Plays 7% 8%
 

across all performing arts disciplines. Read Poetry 32% 29%
 

Read Novels/Short Stories 60% 64% 

Forsyth County’s strong participation rate for ’Plays’ Hear Poetry 13% 15% 

(22%, compared to a 12-site average of 20%) is linked Hear Novels/Books 15% 13% 

to a healthy theatre community, both academic and TELEVISION EXPOSURE community-based. In addition to frequent student Jazz, 30% 36% theatre productions, the North Carolina School of the Classical Music 36% 44% Arts also presents performances by touring companies. Opera 16% 23% Wake Forest University also has an active drama Musicals 26% 29% department. Winston-Salem is home of the North Pla),s 22% 27% Carolina Black Repertory Theatre, which every other Any Dance 32% 36% year hosts the National Black Theatre Festival, a Artists/Art/Art Museums 40% major cultural and tourist attraction with some 75 43% 

Any TV Exposure 67% 75% performances in 2 weeks. 

RADIO OR RECORDINGS 

Based in High Point, a short distance to the southeast, Jazz 43% 51% 

the North Carolina Shakespeare Festival attracts Classical Music 58% 61% 

audiences from a wide area and contributes to the Opera 21% 28% 

supply of theatre activity in Forsyth County. Musicals 14% 23% 

Pla~,s 11% 10% 

In contrast to the solid participation rate for ~Plays’, Any Radio/Recordings 70% 77% 

only 17% of Forsyth County respondents reported 

attending a musical theatre production, compared to a 12-site average of 27%, and the second lowest 

-41 ­
12 Local Surveys of Arts Participation Summary Report 

Winston-Salem Performing Arts Bars, Clubs & College/Univ. Alternative 

TOTAL Venues Facilities Dinner Theatres Venues Venues 

# of 

SEATING CAPACITY RANGESVenues 

Total 

Seats 

# of 

Venues 

Total 

Seats 

# of 

Venues 

Total 

Seats 

# og 

Venues 

To~d 

Seats 

# of 

Venues 

Total 

Seats 

Up to 300 1 294 13 2500 2 388 48 5286 64 8468 

301 - 850 2 890 3 1050 4 2346 13 7163 22 11449 

851 - 1500 1 1380 11 11893 12 13273 

1501 - 2500 1 2000 2 4100 6 12322 9 18422 

Over 2501 2 7600 6 72837 8 80437 

Total Seat Count by Type 6 10784 16 3550 9 8214 84 109501 115 132049 

rate after Rural Nevada. Musical theatre activity is generally limited to presentations and productions 

sponsored by the North Carolina School of the Arts. The School’s ’Broadway Preview’ series serves 

as a testing ground for Broadway-bound productions. (Neff Simon’s Lost in Yonkers was originally 

built by the School.) Touring productions such as Grand Hotel easily sell out the 1,380-seat Stevens 

Center, indicating excess market demand for musical theatre. The area lacks a larger venue with the 

technical capabilities requisite for major productions. 

Contrary to this research, only a small percentage of musical theatre attenders reported last attending 

a college facility. These results imply that respondents were generally unable to distinguish between 

the different categories of traditional venue types (concert hall/opera house, civic center, theatre, and 

college facility) which are not mutually exclusive. (For example, a concert hall may also be a college 

facility, and either answer would be correct.) 

Participation rates for ’Art Museums/Galleries’, at 32%, is 

also the lowest of any site studied, although 4 museums Winston-Salem ­

and 27 art galleries serve the area. Attendance at Mean Frequency of arts/crafts fairs or festivals is substantially higher, at 45%,Attendance Among although this figure is still below average in comparison 

to other sites. The historic character of the area, Attenders 

highlighted by Old Salem, probably accounts for higherJa~ 2.15 2.7 than-average participation in ’Historic Sites’ (46%, Classical Music 2.38 2.84 comparable to Philadelphia’s 47% rate in this category). Opera 1.4 1.86 

Musicals 2.07 Literature participation rates are average or below 2.3 

Plays 1.87 2.45 

average, with the exception of reading poetry, for which aBallet 1.37 1.77 

32% participation rate was reported (compares to a 12-site O~her Dance 1.75 2.03 

average of 29%). Forsyth County respondents are also Art Museum/Gallery 2.98 2.62 

somewhat more likely than their counterparts in other Arts/Cra~s Fair/Festival 2.07 2.66 

cities (urban areas, especially) to attend readings of books,Historic Park/Monument 2.48 2.85 

with a participation rate of 15% in this category. 

Two-thirds of all respondents (67%) reported some exposure to the arts on television, although this 

figure ranks last among the 12 sites, along with Rural Nevada. The area’s relatively small population 

base and its distance from any large urban area limit the supply of cultural programming on 

television, which m, ay account for these depressed rates. Similarly, exposure to the arts on the radio

is limited. 

- 42 ­
12 Local Sttrveys of Arts Participation Summary Report 

Generally, lower education levels compared to other sites combined with limited access to certain 

types of arts events seem to keep Forsyth County’s arts participation rates at average levels. 

Venue Types Attended 

More than any other site, Forsyth County respondents utilize traditional performing arts venue types, 

with 82% of all audiences reporting attendance at a theatre (41%), a concert hall/opera house (19%), 

a civic center (13%), or a college facility (10%). Considering the predominance of programming 

offered by educational institutions, attendance at college facilities may be under-reported/confused 

with other venue types. Despite the high rate of attendance at traditional halls, alternative venues are 

not lacking in the facility inventory. These spaces range from small rooms in libraries and 

museums/galleries to 14 mid-sized theatres and auditoria in secondary schools throughout the area. 

Church spaces, some quite large, are also available for performances, although reported utilization of 

these spaces (for the disciplines covered) was very low. 

Also of interest is the low utilization of ’Parks and Open-Air Facilities’ - 3%, the lowest figure in this 

category for any site. Jazz, the most common type of outdoor programming, is seen !indoors by over 

90% of Forsyth County jazz attenders. Although six open-air facilities including Winston Square 

Park, Tanglewood Park, and Miller Park are part of the local facility inventory, they are used 

infrequently for performing arts events. (The Symphony offers summer concerts at Tanglewood 

Park.) 

Interest in Attending More Often 

Forsyth County respondents showed comparatively high interest levels in attending classical music 

concerts more frequently (15% designated ’Classical Music’ their top priority, ranks 1st with Reno, 

NV) but a distinct lack of interest in seeing more ’Opera’ (top priority for only 2%, ranks last). 

Interest in attending ’Plays’ more frequently was also higher than average (16% specified "Plays’ as 

the single type of event that they would like to attend more often, compared to 12% for all sites). 

These results provide another example of high participation and high interest in the same discipline. 

Overall, just 57% of those surveyed expressed an interest in attending arts events more often, the 

lowest figure for any site by 7%. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the Arts Council Winston-Salem/Forsyth County.
 

- 43 ­
12 Local Surveys of Arts Participation Summary Report 

King County, Washington
 

King County, Washington had just over 1.5 million residents in 1990, of whom approximately onethird lived in the City of Seattle. Between 1980 and 1990, the area’s population grew nearly 20%. 

Some 31 municipalities comprise King County and an additional one-third of the population resides 

in unincorporated rural and suburban areas west 

of Lake Washington. 1990 median household About the Sample... income for King County was $38,243, with 

nearly 34% of households having incomes over  ̄ SamNed area includes all of King County, $50,000. Of the 12 sites studied, Seattle most Washington, including Seattle and Bellevue. closely resembles Chicago and Philadelphia in ° sample size = 406 terms of affluence (despite its comparatively 

small size), and periodically receives mention as SamNe Demographics* one of America’s most livable cities. 51% lea-hale, 49% male 

87% white, not .Hispanic With a white population of 88%, King County’s 4% African-American, 6% Asian African-American and Asian populations each 27% have incomes > $50,000/yr. represent just over 4%, with Hispanic residents 41% completed college; accounting for only 2.1%. Households with 10% have graduate degrees children under 18 represent just over one-third of *weighted data the total households, the remainder being single 

and married couples without children. With 17% of respondents aged 25 - 29 (the largest percentage 

in this age category for all 12 sites) and with the largest percentage of college graduates of any site 

(46%), King County (and Seattle in particular) continue to earn a reputation as a desirable place for 

young people to establish roots. 

Arts Activity_ in King County 

The City of Seattle remains the cultural capital of the county, recognized for its world-class opera 

company, ballet, and symphony. A new Art Museum and several non-profit exhibition spaces, along 

with the University of Washington’s exhibition facilities and performing arts presentations, offer a 

well-rounded slate of activities. Two of the most vibrant areas of arts activity are Seattle’s "fringe" 

theatres and the city’s modern dance community. 

Reportedly, Seattle boasts the most "theatre" per King County Cultural Attractions capita of all u.s. cities. Local arts community 

representatives describe a "critical mass, a crucible of Art Museums 12 experimentation" in Seattle’s theatre community
 

Art Galleries 184 which is attracting playwrights and actors from across
 

the country. Nearly fifty small and experimental
 Arts/Crafts Fairs/Festivals 350 theatre ensembles are organized as "Seaule Fringe Historic Parks/Sites/Monuments 480 Theatres" and present an annual Fringe Theatre 

Festival. The moderu dance community has also 

prospered lately; local choreographers such as Mark Morris have gained international recognition, 

and an annual festival of dance (Allegro) draws sizable audiences. 

In the remainder of King County, almost half of the municipalities have active arts commissions 

involved in programming and services to artists and arts organizations. In the upscale community of 

Bellevue, the Bellevue Art Museum and Bellevue Philharmonic as well as the Village Theatre in 

Issaquah have become attractions for Seattle residents in addition to serving residents of the outlying 

communities. At least two new cities (Federal Way and SeaTac) are pursuing development of arts 
12 Local Surveys of Arts Participation Summary Report 

programs and facilities, while other municipal arts 

commissions (Kirldand, Redmond, Kent, Renton, 

Issaquah) are involved in presenting and public art 

programs. 

Community residents report that musical theatre and 

classical music performances are most popular 

throughout the county, with less jazz, dance, and 

opera activity. Arts and crafts festivals are also 

King County Arts
 

Participation
 

Rates
 

CORE DISCIPLINES popular attractions in many of the localities.
 

Continued public support of the arts and culture in Jazz
 

King County is guaranteed through a new countywide Classical Music

HoteLtMotel Tax fund, of which 70% will go to Opera 

Musicals funding cultural facilities, with another 20% dedicated 

Plays to heritage organizations for capital expenditures andBallet interpretive and educational programs. 

Other Dance 

Arts Participation in King County Art Museum/Gallery

Any of 8 Core Disciplines 

Seattle and King County residents attend most OTHER DISCIPLINES 

traditional performing arts disciplines at average rates;Arts/Crafts Fair/Festival

reported attendance at jazz, classical music, opera, andAttend Movie Theate r 

musical theatre are all within one percentage point ofHistoric Park/Monument

the 12-site averages and are not significantly different 

from several other urban sites studied, including 

Pittsburgh and Chicago. However, significantly 

higher participation rates for theatre, ballet, and other 

dance are remarkable. 

Read Books for Pleasure 

Read Plays or Poetry or Novels 

Read Plays 

Read Poetry 

Read Novels/Short Stories Attendance at ’Plays’ in King County is the highest ofHear Poetry all 12 sites at 29% (compared to a 12-site average of Hear Novels/Books 20%). As noted.above, Seattle is recognized as a 

center of theatrical activity in the Pacific Northwest, TELEVISION EXPOSURE 

with large numbers of both mainstream and "fringe" Jazz 

theatres (over 75 altogether) supported by a healthy Classical Music 

inventory of small venues in the 100 - 500 seat range.Opera 

King County’s participation rates for ’Ballet’ and 

’Other Dance’, at 13% each, compare favorably to 12­

site averages of 7% and 10%, respectively. The 

Pacific Northwest Ballet, based in Seattle, has 

Musicals 

Plays 

Any Dance 

Artists/Art/Art Museums 

An)~ TV F_xposure 

received widespread attention as one of the country’s RADIO OR RECORDINGS leading companies and contributes to the area’s strong 

ballet participation rate. Frequent local dance Jazz 

Classical Music productions, spawned by Seattle’s thriving modern Opera dance community, as well as presentations of touringMusicals companies by the University of Washington, may P/aTs account for strong participation in ’Other Dance’. Any Radio/Recordings 

16% 15% 

20% 20% 

7% 6% 

26% 27% 

29% 20% 

13% 

13% 10% 

52% 42% 

69% 62% 

55% 49% 

78% 73% 

44% 44% 

82% 73% 

75% 69% 

9% 

33% 29% 

71% 64% 

16% 15% 

18% 13% 

40% 36% 

38% 44% 

21% 23% 

26% 29% 

26% 27% 

36% 36% 

53% 43% 

78% 75% 

58% 51% 

65% 61% 

28% 28% 

21% 23% 

10% 10% 

78% 77% 

- 45 ­
12 Local Surveys of Arts Participation	 Summary Report 

King County Performing Arts Bars, Clubs & College/Univ. Alternative 

TOTAL Venues Facilities Dinner Theatres Venues Venues

# of Total # of Total # of Total # of Total # of Total
 

SEATING CAPACTFY Venues Seats Venues Seats Venues Seats Venues Sea~ Venues Seats
 

Up to 300	 21 3550 1 90 2 386 14 3030 38 7056 

301 - 850	 9 4204 1 450 1 708 6 2585 17 7947 

851 - 1500	 3 3337 N/A N/A 1 1206 1 1182 5 5725 

1501 - 2500	 1 2130 N/A N/A N/A N/A N/A N/A 1 2130 

Over 2501	 2 6071 N/A N/A N/A N/A N/A N/A 2 6071 

Total Seat Count by Type 36 19292 2 540 4 2300 21 6797 63 28929 

Among the 12 sites studied, King County records the second highest participation rate for ’Art 

Museums/Galleries’ (52%, second to Sedona); this rate is significantly higher than Chicago’s 42% 

rate and Philadelphia’s 44% rate. One explanation may lie in the recent opening of the new Seattle 

Art Museum and the high community awareness (or "honeymoon effect") associated with the 

opening of such a high profile cultural facility. The Bellevue Art Museum and other smaller art 

exhibits throughout the county also appear to be drawing sizable audiences. King County also shows 

healthy figures for attendance at ’Arts/Crafts Fairs or Festivals’ and at ’Movies’ (78%, ranks first with 

San Jose); both of which are consistent with a youthful population. 

Also of particular interest are participation rates for literary pursuits. King County residents rank 

first among the 12 sites (82%, tied with Sedona) in the category of ’Reading Books for Pleasure’. 

The uniformly high participation rates for other literary categories in comparison to the other survey 

sites (ranks 1st, 2nd, or 3rd in all categories) reflect a well-educated population. Also indicative of 

the unique cultural environment of Seattle is a high participation rate for attending public readings of 

books/novels (18%, second to Sedona, and significantly 

higher than any other urban site). Of late, Seattle has 

been referred to as the "coffee capital of the nation", with 

high per-capita sales of gourmet coffees and a thriving King County - ~ 

network of coffee houses and bookstore/cafes which Mean Frequency of "~ t 

frequently offer public readings and are patronized Attendance Among ~ ~. primarily by young people. Attenders ~ "~ 

The King County site is also noteworthy for its high rates.ta,.z 2.69 2.7 of television exposure to the arts: 40% viewed a jazz Cl,usica~ Music 2.64 2.84 performance on television (ranks lst), and 53% watched	 Opera 1.8 1.86 

at least one visual arts program on television (ranks 2nd).Music,a,	 2.68 2.3 

Plays	 2.81 2.45 

Reasons for Not Attending More Of~n	 Ballet 1.52 1.77 

Other Dance 2.18 2.03 

One of the most revealing statistics from the research A~t Museum/Gallery 3.26 2.62

Arts/Cra.~s Fair/Festival 2.59 2.66 concerns the reasons for not attending more frequently. Historic Park/Monument 3.23 2.85 74% of all King County respondents (the highest figure 

for any site studied) expressed a desire to participate in 

the arts more frequently. Among these people, 26% cited ’Cost of Tickets’ as a reason for not 

attending more often; again, this rate was the highest figure among the 12 sites. Several 

demographic and economic factors may bear upon this finding. First, the younger population of 

Seattle, while interested in attending arts events, has less means to do so by virtue of their lower 
12 Local Surveys of Arts Participation Summary Report 

incomes. Alternatively, these people may be drawn to the lower-cost ticket prices and non-traditional 

programming offered by the many "fringe" theatres and fledgling modern dance companies in the 

area. 

The overall economic climate of the area also corroborates this finding. High demand for jobs in the 

Seattle area tends to depress income levels (particularly in the wake of large-scale layoffs by Boeing), 

while the cost of living remains relatively high in comparison to other sites studied. The resulting 

pressure on disposable income exacerbates the economic barriers to arts attendance, particularly 

among young people. 

Venue T_ _vpes Attended 

Over 3/4 of those who reported at least one attendance at a live performance over the past year last 

attended a traditional venue (’Concert Hall or Opera House’ - 25%, ’Civic Center’ - 5%, ’Theatre’ ­

42%, ’College Facility’ - 5%). Attendance at all other venue types, including ’Nightclubs’, ’Churches 

or Synagogues’, and "parks or Open-Air Facilities’, was average or below average compared to the 

other sites studied. Especially for this site, "purpose-built" facilities tend to be used for their 

respective disciplines. For example, 72% of opera attenders last attended an opera house; 72% of 

theatre attenders (both musicals and non-musical stage plays) last attended a traditional theatre 

venue; 32% of jazz attenders last attended a jazz club; 44% of classical music attenders last attended 

a concert hall, etc. From the data collected, the facility inventory appears to complement the supply 

of arts activity, at least within the disciplines queried. 

Interest in Attending More Often 

Nearly three-quarters of all respondents expressed a desire to participate in the arts more often - the 

highest figure for any site - and an encouraging figure for the Seattle arts community. Interest levels 

in specific disciplines was not significantly different than average figures for all sites, with several 

exceptions. 63% expressed an interest in attending ’Plays’ more frequently (ranks 1st with Chicago 

and Sedona), while 16% indicated that attending more ’Plays’ was their single highest priority (ranks 

1st with Winston-Salem). Given the already high participation rate for "plays’, this high interest in 

attending more theatre reinforces the notion that high participation tends to breed even more interest ­

a phenomenon observed throughout this study. Stated another way, the data suggests that supply and 

demand (for arts activity) are not necessarily related in the traditional economic sense, but rather can 

stimulate each other to achieve higher consumption levels. 

Source for demographic and lifestyle data: EquiSax Marketing Decision Systems, Encinitas, CA.
 

Figures for the number and seating capacities of venues, and estimates for the number of cultural attractions provided by
 

the Seattle Arts Commission. Additional information provided by the King County Arts Commission.
 

- 47 ­
12 Local Surveys of Arts Participation Summary Report 

Chicago Metropolitan Area, Illinois 

With a 1990 census population of 7.26 million, the Chicago site (including 5 counties) is by far the 

most populous of the 12 sites surveyed, providing a sharp contrast to the rural western sites (i.e., 

Sedona, AZ - population 32,094), both geographically and demographically. As is generally true of 

major metropolitan areas, demographic data illustrate a diverse population spanning the range from 

affluence to poverty and everything in between. 34% of households in this area have incomes over 

$50,000, while 31% earn under $25,0130. 

Seventy-one percent of residents are white, 20% 

African-American, 3.5% Asian, and almost 12% About the Satnple_ 

Hispanic/Latino. More than 18% have graduated 

from college whereas 17% list eighth grade as the ̄ Sampled area includes five northeastern 

highest education completed - a polarization Illinois counties: Cook, Kane, DuPage, 

common to large urban areas. The area includes Lake, McHenry, and Will, representing a 

large percentages of metropolitan singles, large geography around Chicago. 

wealthy established families, and struggling  ̄ sample size = 40I 

minority singles and couples. Households in the 

outlying areas of the sampled geography Samole Demograo_ hi~* 

(including the communities of Elgin, Aurora, and 

Joliet) are more likely to be mainstream families 53% female, 47% male 

with average incomes and education, in contrast 72% white, not Hispanic 

to their urban counterparts. 15% African-American, 5% Hispanic ..... 28% have incomes > $50,000iyr. 

Arts Activity in Metropolitan Chicago 33% completed college; 

1 t% have graduate degrees By any standards, the chicago area is rich with *weighted data 

both producers and presenters of traditional and 

non-traditional performing arts activity. As one 

of America’s largest cities, Chicago boasts a number of world-class cultural institutions, including the 

Chicago Symphony Orchestra, the Lyric Opera of Chicago, the Goodman Theatre, and the Chicago 

Art Institute. The Hubbard Street Dance Company, one of the country’s most active touring dance 

ensembles, makes its home in Chicago, as does the Joseph Holmes Chicago Dance Theatre and 

numerous other local companies. Theatre companies proliferate in the Chicago area; some 200 nonprofit theatre companies and more than 80 performing arts facilities of under 300 seats contribute to 

one of the nation’s healthiest theatre environments. The bi-armual Chicago International Theatre 

Festival serves as a focal poim of theatrical activity in the region. 

Major presenters in the Chicago area include the Auditorium Theatre, Performing Arts Chicago, the 

Chicago Jazz Festival, and the Ravinia Festival, in addition to a host of educational institutions with 

presenting programs including Northwestern University, DePaul University, Columbia College, and 

the University of Chicago. 

Measuring Chicago area arts activity in quantitative terms is nearly impossible, barfing an 

unprecedented research effort. Several arts service organizations track performance activity within 

certain disciplines, however, including the Chicago Dance Coalition, the Chicago Music Alliance, 

and the League of Chicago Theatres. For example, the Chicago Dance Coalition, with 36 member 

dance companies and 25 member choreographers, reported that the 1991-92 Chicago dance season 

included 316 performances by both resident and touring (presented) companies. The Chicago Music 

Alliance reported 872 classical music performances over a one-year period ending January, 1992 (not 

including student or faculty recitals presented by music schools), held in 132 Chicago area venues 

ranging from Orchestra Hall to Evanston’s First Baptist Church. Further investigation revealed an 

- 48 ­
12 Local Surveys of Arts Participation Summary Report 

additional 165 performances presented by DePaul and 

Northwestern Universities, and another 875 musical 

events at libraries, churches, and other non-traditional Chicago Area venues. 

Arts Participation According to representatives of the city’s cultural 

community, the metropolis model rings true in the Rates 

arts world as well, with dichotomies existing between 

large and small organizations and downtown versus CORE DISCIPLINES suburban performance spaces. As in other major 

metropolitan areas, access to performance space in Jazz 

Classical Music downtown Chicago is viewed by many as the stepping 

stone toward status as a major arts institution. Opera 

Challenges facing the Chicago arts community echo 

those of other large communities; sources report that 

audiences at traditional arts events are "graying" and 

that arts organizations throughout the area are 

struggling to respond to their increasingly diverse 

constituencies. 

Arts Participation in Metro_tx)litan Chicago 

Chicago area participation rates for the traditional 

performing arts disciplines are nearly average 

compared to the 12 sites studied, with the exception 

of ’Musicals’ (32%, ranks second highest of all sites) 

and ’Ballet’ (tied for 1 lth of all 12 sites). The high 

rate of attendance at ’Musicals’ is due partly to 

Chicago’s inclusion on the first-run Broadway road 

show circuit as well as the preponderance of theatre 

companies whose productions often include musical 

theatre. With respect to the low participation rate for 

’Ballet’, ticket prices and the limited availability of 

tickets for performances of Ballet Chicago may 

constrain participation within this discipline. This 

finding is corroborated by a lower than average 

Musicals 

Plays 

Ballet 

Other Dance 

Art Museum/Gallery 

Any of 8 Core Disciplines 

OTHER DISCIPLINES 

Arts/Crafts Fair/Festival 

Attend Movie Theater 

Historic Park/Monument 

LITERATURE 

Read Books for Pleasure 

Read Plays or Poetry or Novels 

Read Plays 

Read Poetry 

Read Novels/Short Stories 

Hear Poetry 

Hear Novels/Books 

TELEVISION EXPOSURE 

Jazz 

Classical Music 

Opera 

frequency of attendance at ballet performances amongMusicals 

those who do attend the ballet (1.32 avg. annual 

attendances for Chicago balletomanes vs. 1.77 for 

ballet attenders across all 12 sites). 

The relatively low participation rate for ’Opera’ (5%, 

only rural Nevada, Sedona, Las Vegas, and WinstonSalem have lower ’Opera’ participation rates), implies 

a similar constraint. Access to performances by the 

Lyric Opera is limited by both high ticket prices and 

high demand. 

Participation rates for ’Art Museums/Galleries’, 

Plays 

Any Dance 

Artists/Art/Art Museums 

~y TV Exposure 

RADIO OR RECORDINGS 

Jazz 

Classical Music 

Opera 

Musicals 

Plays 

Any Radio/Recordings 

16% 

20% 

5% 

32% 

21% 

5% 

10% 

42% 

63% 

49% 

77% 

44% 

75% 

69% 

7% 

29% 

64% 

15% 

13% 

37% 

46% 

24% 

30% 

30% 

36% 

45% 

75% 

56% 

64% 

30% 

25% 

12% 

83% 

15% 

! 20% 

6% 

27% 

20% 

1 0% 

42% 

62% 

49% 

73% 

44% 

73% 

69% 

29% 

64% 

15% 

13% 

36% 

44% 

23% 

29% 

27% 

36% 

43% 

75% 

51% 

61% 

28% 

23% 

10% 

77% 

’Arts/Crafts Fairs or Festivals’, and ’Historic Sites’ are 

each equal to the 12-site averages, while movie theatre attendance, at 77%, ranks fourth of all sites. 
12 Local Surveys of Arts Participation Summary Report 

Performing Arts Bars, Clubs & College/Univ. Alternative ¢71~iov...caoo Venues TOTAL Facilities Dinner Theatres Venues Venues 

# of Total # ~ff Total # of Total # of Total # of Total
 

SEATING CAPACITY Venaes Seats Venues Seats Venues Seats Venues Seats Vermes Seats
 

Up to 300 79 9934 1 300 7 962 2 419 89 11615 

301 - 850 15 6453 3 1821 5 1938 2 868 25 11080 

851 - 1500 7 8112 1 975 1 1338 N/A N/A 9 10425 

1501 - 2500 3 6196 N/A N/A N/A N/A N/A N/A 3 6196 

Over 2501 2 6095 N/A N/A 1 4000 N/A N/A 3 10095 

Total Seat Count by Type 106 36790 5 3096 14 8238 4 1287 129 49411 

Similarly, little is unusual with respect to literature participation or television exposure to the arts. In 

terms of exposure to the traditional arts on radio or through recordings, Chicago’s overall figure of 

83% is the highest of all 12 sites. With respect to radio, the Chicago area benefits from a wide range 

of arts programming offered by a number of stations including WFMT, WNIB, and WBEZ. The 

individual rate for jazz participation through radio/recordings (56%) is the third highest (behind 

Seattle/King County and Santa Clara County), and the rate for opera on radio or recording (30%) is 

second only to that for Broward County, Florida. 

Given the enormous supply of arts activity (especially in the areas of classical music, theatre, and to 

some extent dance) and given the large number of highprof’de cultural institutions, one might expect higher 

participation rates for the Chicago area in some Chicago Area ­ categories. However, several factors counter these Mean Frequency of expectations. The sampled area includes a large 

geography - including areas for which driving time to Attendance Among 

Chicago may be a barrier to attendance. Ten percent of Attenders 

the Chicago respondents who would like to attend arts 

activities more often cited ’Distance/travel time’ as an Jazz 2.72 2.7 

obstacle to increased attendance. Results for this variable Classical Music 2.93 2.84

1.86 tend to be related to the size of the sampled geography. A Opera 1.97 

Musicals 2.27 2.3 similar survey administered to a smaller geography - for Pla2~s 2.15 2.45 instance, a 25-mile radius around downtown Chicago ­ Ballet 1.32 1.77 might yield very different participation rates. Further, the Other Dance 1.87 2.03 size and demographic heterogeneity of the area, especially Art Museum/Galler~ 2.77 2.62 

with respect to race, income and education, provides a Arts/Crafts Fair/Festival 2.91 2.66 

more diverse population from which to draw a random Historic Park/Monument 2.86 2.85 

sample. The sample, therefore, is more likely to reflect 

this heterogeneity. Given a population of over 7 million, it would be difficult to expand penetration 

into the overall market area beyond average rates, despite the Chicago area’s many artistic riches. 

Venue .Type_ s Attended 

Traditional venue types were last attended by two-thirds of Chicago respondents who reported 

attending at least one live performance. Among the traditional venue types, ’Theatres’ were attended 

by 40% of all audiences (compared to 35% for all 12 sites); another 17% last attended a ’Concert Hall 

or Opera House’; while 7% reported last attending a ’College Facility’. The relatively high utilization 

- 50 ­
12 Local Surveys of Arts Participation Summary Report 

of traditional theatres may be attributed both to the large numbers of these venues in the Chicago area 

and to the high participation rates for ’Musicals’ and ’Plays’. 

This study, as well as other research, has shown that Civic Centers (generally defined as multipurpose cultural centers) tend to serve smaller communities, where purpose-built facilities such as 

concert halls, opera houses, and traditional theatres are not a part of the facility inventory. Consistent 

with this observation is Chicago’s low rate of attendance at Civic Centers (3%, ranks last, compared 

to 13% for Winston-Salem, and 25% for Rural Nevada), as well as similar figures for the other urban 

sites studied, including Pittsburgh, Philadelphia, and Seattle, which all have 5% utilization rates for 

Civic Centers. 

Unique to the Chicago site is unusually high utilization of dinner theatres as venues tbr the 

performing arts. Twelve percent of all Chicago area arts audiences last attended a dinner theatre - a 

figure twice as high as at any other site. Chicago’s 32% participation rate for musical theatre clearly 

brings more people into dinner theatres. Although dinner theatre venues were not inventoried for this 

study, a number of successful dinner theatres operate in the suburban areas surrounding the city. 

Interest in Attending More Often 

Interest levels among Chicago area respondents closely follow the 12-site averages for most 

disciplines. In comparison to the Philadelphia, Pittsburgh, and Seattle sites, Chicago respondents 

tend to have generally higher interest levels, particularly with respect to ’Art Museums/Galleries’. 

Among Chicago respondents who would like to attend arts events more often, fully 75% (ranks lst) 

expressed an interest in attending ’Art Museums/Galleries’ more frequently. 

Just over two-thirds of all Chicago area respondents expressed an interest in attending arts events 

more frequently, similar to the 12-site average of 69%, and equal to Philadelphia’s figure of 68%. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Information on arts activity provided by the Chicago Dance Coalition, Chicago Music Alliance, League of Chicago
 

Theatres, and the Illinois Arts Council.
 

-51 ­
12 Local Surveys of Arts Participation Summary Report 

Philadelphia Area
 

The Philadelphia Metropolitan Statistical Area (MSA) encompasses an irregular geography stretching 

from Pottstown, PA across to the New Jersey coast and from northern Bucks County, PA (near 

Allentown) to southern Gloucester County, NJ (near Vineland). Not included in this area are 

Trenton, NJ and Wilmington, DE. According to 

census figures, the Philadelphia MSA had a total About the Sample... 1990 population of nearly 4.85 million, only 

slightly larger than the population ten years ago. Sampled area includes the Philadelphia 

Metropolitan Statistical Area (MSA), which The area has a substantial minority population, includes 3 New Jersey counties (Gloucester, predominantly African-American (19%) and Camden and Burlington) and 5 Pennsyl­ including 3.5% Hispanic/Latino and 2% Asian vania counties (Philadelphia. Delaware, populations, white residents comprise just over Chester, Montgomery, and Bucks). This 3/4 of the total population. Estimated median area was divided into 3 subareas: 

household income for 1992 was $38,000, with 1, .All counties in the MSA except more than 34% reporting incomes over $50,000. o Phitadell~hia County Education levels are quite similar to the Chicago 2. Telephone exchanges within the City of site, with 23% of all adults (25+) having Philadelphia containing high concentra­ graduated from college, and another 24% without tions of minority populations. a high school degree. 3. AIt remaining exchanges within ~e city 

. The high minority population subarea (#2 Typical of other major metropolitan areas, above) was over-sampled in order to Philadelphia is comprised of a heterogeneous increase the.sample size of minority population falling at both ends of the socio­ respondents. economic scale and everything in-between. In sample size = 607 comparison to other sites covered in this study, 

Philadelphia has proportionately fewer affluent Sam_ote De~cs* households than Seattle/King County and the 54% female, 46% male Chicago area, but more than 79% :white, not I-fispanic Pittsburgh/Allegheny County and Miami/Dare 16% African-American; 4% all other races County. Demographically, the Chicago site (i.e. 25% have incomes > $50,000/yr. 5 Illinois counties) is most similar to 29% have incomes < $20,000/yr. Philadelphia. 35%:completed college; 

7% have graduate degrees Arts Activity in the Philadelphia Area *weighted data 

Arts community representatives paint a picture of 

a stratified arts community (again, similar to Chicago) with over 30 arts institutions with budgets 

over $1 million, and scores of smaller arts groups. 

Several colleges and universities add measurably to Philadelphia Area Cultural Activity the supply of arts activity, including student and 

professional productions and presentations of visiting 

Cultural Attractions* artists in music, theatre, and dance. Culturally diverse 

Art Museums 8 programming is a major issue for arts groups; smaller 

Art Galleries organizations are seeking to showcase local traditions 133 

(evidenced by recent African-American festivals and Arts/Crafts Fairs/Festivals 3** productions), while larger institutions strive to find Historic Parks/Sites/Monuments 36 ways of attracting minority audiences. The area *Data on # of performances not available. boasts a flourishing ’new music’ community and a **Large-scale events only. general resurgence of theatre. 

- 52 ­
12 Local Surveys of Arts Participation Summary Report 

The Academy of Music, downtown Philadelphia’s
 

2,929-seat concert hail, is the primary venue for Philadelphia
 

severai of the city’s major arts institutions, including
 Area Arts the Philadelphia Orchestra, the Pennsylvania Bailet,
 

and the Opera Company of Philadelphia. The
 Participation Pennsylvania Opera Theatre, a separate organization,
 

produces in the adjacent Merriam Theatre (formerly Rates
 

the Shubert) and other venues.
 

CORE DISCIPLINES
 

Philadelphia’s inventory of performance facilities is in
 

a state of transition. The Port of History Museum, Classical Music 19% 20%
 

which includes the City’s most acoustically perfect
 Opera 7% 6%
 

concert hail, has been leased to a private concern and Musicals 24%
 27% 

will be inactive for an indefinite period until major :Plays 18% 20%
 

renovations are competed. On the plus side, the new Ballet
 5% 7%
 

convention center includes a 600-seat performance Other Dance 11% 10%
 

hail which could be used by severai of the displaced
 Art Museum/Gallery 44% 42%
 

groups. New performance facilities, planned as part of 63%
 An.v of 8 Core Disciplines 62% 

a downtown cultural district, are eagerly anticipated OTHER DISCIPLINES by the arts community. Major institutions, includingArt#Crafts Fair/Festival 42% the Philadelphia Orchestra, look forward to a new 49% 

Attend Movie Theater 70% home, while emerging groups await the increased 73% 

availability of existing venues. Historic Park/Monument 47% 44%

LITERATURE 

One of the area’s noteworthy aiternative spaces is the Read Books for Pleasure 75% 73% 

Painted Bride Arts Center, a multi-discipline Read Plays or Poetry or Novels 68% 69% 

presenting organization with artist-curated programs Read Plays 9% 8% 

in the performing and visuai arts. Read Poetry 28% 29% 

Read Novels/Short Stories 64% 64% 

Several modern dance troupes make their home in Hear Poetry 14% 15% 

Philadelphia, including the Zeromoving Dance Hear Nove ls/Books 11% 13% 

Company and PhilaDanco. The Dance Celebration TELEVISION EXPOSURE Series at the Annenberg Theatre serves as the area’s Jazz 34% 36% major program of touring dance attractions. Classical Music 50% 44% 

Opera 22% 23% Philadelphia has an active theatre community, with Musicals 29% 29% severai well-established resident theatre companies, a Plays 26% 27% plethora of smaller troupes, and a series of theatricai Any Dance 36% 36% programs presented by the Annenberg Center. AmongArtists/Art/Art Museums 44% 43% the area’s most active companies are the PhiladelphiaAny TV Exposure 80% 75% Drama Guild (which produces at the Zellerbach 

Theatre, capacity 944), the Wainut Street Theatre RADIO OR RECORDINGS

Company (1,052 seats), the Wilma Theatre (106 Jazz 48% 51%i 

seats), the Philadelphia Theatre Company, the Classical Music 60% 61% 

Philadelphia Festival Theatre for New Plays, the NewOpera 28% 28% 

Freedom Theatre, and the People’s Light and Theatre Musicals 23% 23%, 

Company. Plays 10% 1 0% 

Any Radio/Recordings 73% 77% 

The American Mugic Theatre Festivai provides area 

residents with an unusuai opportunity to see a variety of new musicals on a regular basis, inaddition 

- 53 ­
12 Local Surveys of Arts Participation	 Summary Report 

to the regular schedule of Broadway shows promoted by the Shubert Organization at the 1,840-seat
 

Forrest Theatre and other venues. Several of the theatre companies mentioned above also produce
 

musicals.
 

With respect to museums and galleries, the Philadelphia Museum of Art is the area’s flagship 

institution, serving a broad constituency including many tourists. Other art museums include the 

Afro-American Historical and Cultural Museum, the James A. Michener Art Museum, and the 

Institute for Contemporary Art. Over the past several years, many commercial and non-profit 

galleries have relocated to the ’Olde City’ section of downtown Philadelphia, which is now a focus of 

visual arts activity. 

Touting artists are presented by the Chamber Music Society, the All-Star Forum, the Annenberg 

Center, and many other non-profit presenters and commercial promoters. Numerous cultural 

festivals are presented by the Convention and Visitors Bureau, including the African-Americas 

Festival, the Mummer’s Parade, and President’s Jazz Weekend, although the area lacks a major arts 

festival. 

The Effect of Weighting on Philadelphia Survey Results 

As noted above, minority populations in the City of Philadelphia were over-sampled to increase the 

sample size of minority respondents. Because the sampling methodology was not random with 

respect to geography, results should not be used to make inferences about the total MSA population 

without making adjustments to the sample 

TABLE A data. Weighting procedures conducted by 

Abt Associates adjusted for four 

Effect of Weighting on demographic variables (age, gender, race, 

Philadelphia Area Arts Participation Rates	 and household income), and had a major 

impact on survey results (see Table A). 

Raw Weighted Further investigation of weighting

procedures would be necessary to explain 

Jazz 18.8% 12.4% -6.4% these results. (Consult the methodology 

Classical Music 14.8% 18.7% 3.9% section of this report for additional 

Opera 5.1% 7.2% 2.0% information about weighting procedures.) 

Musicals 25.7% 24.0% -1.7% 

Plays The geographical distribution of 21.1% 18.0% -3.1% 

Ballet Philadelphia respondents is not random, 7.1% 4.7% -2.4% 

Other Dance 13.0% 11.1% -1.9% since certain telephone exchanges within

Museums the City of Philadelphia were over- 49.3% 43.7% -5.6% 

sampled. By design, approximately twothirds of respondents live in the City of 

Philadelphia. The closer proximity of these people to downtown venues, where a majority of arts 

activity occurs, has an unknown impact on participation rates. 

Arts Participation in the Philadelphia Ar¢a 

With several exceptions, weighted participation rates for the Philadelphia site are similar to rates for 

the Chicago site, the Pittsburgh/Allegheny County site, and to the average rates for all 12 sites 

combined. One exception is the ’Jazz’ participation rate of 12%, which ranks lowest of the urban 

sites studied; only Rural Nevada (7%) and Rent, NV (10%) have lower rates for jazz participation, 

although the supply of jazz activity in Philadelphia is more comparable to Chicago (16%). 

- 54 ­
12 Local Surveys of Arts Participation Summary Report 

Philadelphia Area Performing Arts Bars, Clubs & College/Univ. Alternative
 TOTAL


Venues Facilities Dinner Theatres Venues Venues

# of Total # of Total # of Total # of Toud # of Tolal
 

SEATING CAPACITY RANGE~Venu¢~ Seats Venues Seats Venue~ Seats Venues Seats Venues Seats
 

Ut~ to 300 34 16110 30 3300 N/A N/A 16 1950 80 21360 

301 - 850 2 1219 2 500 3 1445 4 999 11 4163 

851 - 1500 1 1052 0 0 N/A N/A N/A N/A 1 1052 

1501 - 2500 1 1668 0 0 1 2300 N/A N/A 2 3968 

Over 2501 1 2929 0 0 N/A N/A 3 36700 4 39629 

Total Seat Count by Type 39 22978 32 3800 4 3745 23 39649 98 70172 

’Opera’ participation in the Philadelphia area, at 7%, ranks ahead of Chicago and Pittsburgh (both 

5%) and equal to Seattle and Miami/Dade County. Participation rates for ’Ballet’ (5%), and ’Other 

Dance’ (11%) parallel rates for the Chicago area in these categories, consistent with the limited 

supply of ballet programming in both areas, the healthier availability of ’Other Dance’ presentations, 

and the higher participation of minority groups in ’Other Dance’. 

Philadelphia’s participation rate for ’Musicals’, 24%, falls well behind Chicago’s 32% rate. Although 

comparable in size, the Chicago market still supports longer runs of some Broadway shows. Based 

on the data collected, Chicago area respondents also attend dinner theatres more often, another factor 

which might explain that city’s higher rate for ’Musicals’. Out-of-town participation :may additionally 

factor into this rate; surveys of Broadway theatre audiences in New York show a steady draw from 

Philadelphia, according to the League of American Theatres and Producers. 

As a centerpiece of American history, Philadelphia has the highest participation rate for Historical 

Sites (47%) of the large cities studied. Among the area’s historical parks, monuments, and other 

landmarks are Independence Hall, Valley Forge National Park, plus many historic neighborhoods and 

houses. 

Literature participation rates for Philadelphia are nearly identical to Chicago’s, and all fall within one 

percentage point of the 12-site average. Rates for arts participation through the media contrast more 

sharply with other markets. Philadelphia’s rate for ’Classical Music’ participation through television 

programming is the highest of all 12 sites - 50% - sharply higher than Pittsburgh (30%), and also 

ahead of Chicago (46%) by a narrower but still significant margin. Local non-profit station WHYYTV offers regular classical music programming, which may contribute to higher participation. Also, 

classical music programming on television is also more likely to reach minority audiences, relative to 

live participation rates. 

Exposure to the arts through ’Radio or Recordings’ for Philadelphia is lower than for Chicago, though 

it is significantly higher than for Pittsburgh in all 5 disciplines. 

T. _vpes of Venues Attended 

Of all the urban sites studied, Philadelphia respondents attended "Alternative Venues" most often, 

including ’Churches/Synagogues’ (4%) and ’Secondary School Facilities’ (4%). Aside from the 3 

Nevada sites, Philadelphia respondents also reported the highest utilization of ’Nightclubs/Jazz Clubs’ 

(8%). Attendance at ’Dinner Theatres’ (8%), was second highest to Chicago’s (12%). With respect to 

traditional venue types, 39% of all attenders reported last attending a ’Theatre’, while 17% last 

- 55 ­
12 Local Surveys of Arts Participation Summary Report 

attended a ’Concert Hall or Opera House’, a figure identical to Chicago’s. Attendance at ’Civic 

Centers’ (2%) was the lowest of all sites, and most similar to Chicago (3%). 

Interest in Attending More Often 

Of the 8 core disciplines, 28% of Philadelphia respondents indicated that ’Musicals’ was their single 

highest priority for attending more often, the highest rating for ’Musicals’ of the 12 sites studied. In 

total, 64% of all Philadelphia respondents reported some interest in attending more musicals, an 

indication of the strong perceived interest in this type of activity. In contrast, only 9% selected 

’Plays’ as their highest priority for attending more often (53% reported any interest); this figure is one 

of the lowest among the 12 sites and paints a very different picture in comparison to Chicago and 

Seattle where interest in attending ’Plays’ more often equals or exceeds interest in attending more 

’Musicals’. With the exception of ’Musicals’, interest levels in the 8 "core" disciplines are lower than 

Chicago’s (and lower than the 12-site averages). This finding may be attributed in part to the 

comparatively lower education levels of the Philadelphia survey site. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, and other information provided by the Greater Philadelphia Cultural Alliance.
 

- 56 ­
12 Local Surveys of Arts Participation Sununary Report 

Broward County, Florida
 

Broward County, Florida, in the middle of South Florida’s "megalopolis" stretching from Miami to 

Palm Beach, is a community experiencing rapid population growth and demographic diversification. 

The city of Ft. Lauderdale and dozens of smaller surrounding municipalities have traditionally been a 

haven for retirees and winter residents from 

throughout the U.S. Northeast and Canada, About the Sample.. known locally as "snowbirds". More recently, 

the county has seen an influx of young families; Sampled area includes all of Broward a growth rate of 23% for the decade between County, including the communities of 1980 and 1990 accumulated a 1990 census 

population of 1.25 million, not including 

seasonal residents. With this growth have come 

significant demographic changes. According to 

1990 census figures, 82% of the population is Samole Demogr~hic~* white, 15% African-American, with 8.6% of 53% female, 47% male Spanish origin. Median household income is 87% white, not Hispanic more than $32,000, with just 27% of households 8% Mfican-American; 2% .Hispanic reporting incomes over $50,000, compared to 24% have incomes > $50,000/yr. over 38% who earn $25,000 or less. 38% completed college; 

14% .have graduate degrees Overall, the county has high concentrations of 

younger upwardly mobile singles and families 

plus many retirement-aged singles and couples. 

Compared to other large urban areas studied, 

Broward County is substantially more homogeneous, particularly with respect to income and 

education, and lacks the extreme polarization of lifestyles associated with major metropolitan areas 

such as Chicago and Philadelphia. 

Broward County Cultural Activity Arts Activity in Broward Counl~y 

The cultural life of Broward County has changed Cultural Attractions radically with the influx of new residents and since the Art Museums 4 opening of the Broward Center for the Performing Art Galleries 107 Arts in 1990. Representatives of the arts community Arts/Crafts Fairs/Festivals 73 report trends away from the traditional arts Historic Parks/Sites/Monuments 20 programming offered primarily for the benefit of 

Performing Arts Activity* seasonal residents during the winter months. More 

Jazz 77 family-oriented fare - such as children’s theatre and 

popular music - now appears on the cultural calendar, Classical Music 190 

even during the summer months. Sources report a Opera 20 growing demand for theatrical performances by small Musicals 48 equity companies, light opera, and choral music. Two Plays 367 jazz festivals have been successful, and a local jazz 

Ballet 27 society has begun presenting monthly programs. 

Other Dance 21 

*Number of Reported Pe~orrnances over a The recent opening of the Broward Center for the 

Recent 12-Month Period Performing Arts, a multi-venue state-of-the art 

performance facility in downtown Ft. Lauderdale, had 

- 57 ­
12 Local Surveys of Arts Participation Summary Report 

an immediate and dramatic positive impact on arts 

activity in Broward County. The new Center ushered 

in 255,000 patrons for its inaugural program, Broward County Phantom of the Opera, and continues to host large 

theatrical productions and performances by major Arts Participation artists in many disciplines. 

Rates 

With respect to arts activity levels, Ft. Lauderdale 

clearly benefits from its proximity to Miami and otherCORE DISCIPLINES population centers along the South Florida coast. 

Several prestigious cultural institutions serve the Jazz 20% 15% 

entire region, including the Miami City Ballet; the Classical Music 23% 20%

Opera 12% 6% Florida Philharmonic Orchestra (based in Broward 

County); and the Greater Miami Opera, which Musicals 34% 27% 

Plays 21% 20°/o performs several productions a year in the Broward 

Center. Ballet 13% 7%

Other Dance 9% 10% 

Presenters in the area include the Broward Center, the Art Museurn/Galle rp 41% 42%

Concert Association of Florida, Broward’s Friends of Any of 8 Core Disciplines 65% 62%

Chamber Music, the Ft. Lauderdale Opera, Bailey OTHER DISCIPLINES 

Concert Hall, and the Coral Springs City Centre, in Arts/Crafts Fair/Festival 61% 49% 

addition to several municipalities which offer free Attend Movie Theater 75% 73% 

programs to area residents, frequently in outdoor Historic Park/Monument 40% 44% 

facilities. LITERATURE 

Arts Participation in Broward County Read Books for Pleasure 75% 73%

Read Plays or Poetry or Novels 71% 69% 

Participation rates for Iraditional performing arts Read Plays 5% 8%

disciplines in Broward County are all above the 12­ Read Poetry 27% 29%

site averages, with the exception of ’Other Dance’ Read Novels/Short Stories 68% 64%

performances. In fact, overall, 57% of the Broward Hear Poetry 17% 15%

County residents surveyed attended at least one
 Hear Novels/Books 13% 13%

performance among the seven performing arts !TELEVISION EXPOSURE
 

disciplines covered in the research, the single highestJazz 36% 36%
 

overall attendance rate of all sites. Classical Music 45% 44%
 

Opera 28% 23% 

The most dramatic figures were recorded for ’Jazz’ Musicals 30% 29% 

(20%, ranks #1), ’Classical Music’ (23%, ranks #1), PlaTs 28% 27% 

’Opera’ (12%, ranks #1), ’Musicals’ (34%, ranks #1), Any Dance 35% 36% 

and ’Ballet’ (13%, tied for first with King County). Artists/Art/Art Museums 35% 43% 

These very high rates may be attributed to a number Any TV Exposure 74% 75% 

of factors, including the high public awareness RADIO OR RECORDINGS surrounding the opening of the of the new Broward Jazz 51% 51% Center for the Performing Arts and the high Classical Music 59% 61% percentage of retirees who populate the area and are Opera 31% 28% accustomed to attending world-class cultural events. 

The greater availability of leisure time for many Musicals 23% 23%

residents (i.e., retirees) may also factor into the higherPlays 12% 10%

Any Radio/Recordings 75% 77% participation rates. 

- 58 ­
12 Local Surveys of Arts Participation Summary Report 

Broward County Performing Arts Bars, Clubs & College/Univ. Alternative TOTAL Venues Facilities Dinner Theatres Venues Venues 

# of Total # of Total # of Total # of Total # of Total 

SEATING CAPACITY Venues Seats Venues Seats Venues Seats Venues Seats Venues Seats 

Up to 300 4 866 9 N/A 2 450 15 1316 

301 - 850 4 2345 4 2345 

851 - 1500 1 1201 1 1200 2 2401 

1501 - 2500 3 6044 1 2100 4 8144 

Over 2501 2 6786 2 6786 

Total Seat Count by Type 14 17242 9 0 2 3300 2 450 27 20992 

Broward County’s unprecedented participation rote for ’Musicals’ is clearly linked to a healthy 

schedule of touting Broadway productions - the Ft. Lauderdale Broadway Series - produced by PTG 

Florida, Inc. and launched with a 12-week run of Phantom of the Opera. Broward County’s 13% 

’Ballet’ participation rate, may be attributed in part to the popularity of the Miami City Ballet and 

other touring ballet presentations. Performances of ethnic/traditional dance, including the Ballet 

Folklorico, have also been successful in the area. 

’Opera’ participation, at 12%, appears to be related to the strong supply of opera programming, both 

at the Broward Center and at other venues.In addition to productions by the Ft. Lauderdale Opera,
 

the Greater Miami Opera and the Gold Coast Opera also
 

perform regularly in venues throughout the county. Not
 

only are participation rates for ’Opera’ and ’Ballet’ high,
 Broward County.. but those Broward County respondents who do attend ~ ~ Mean Frequency of ~ ~ ’Opera’ and ’Ballet’ do so more frequently than audiences 

in other survey sites. Attendance Among ~ ~

Attenders ~ ~’~ The high rate of attendance at jazz events may be 

explained by a preponderance of music festivals (jazz, Jazz 3.35 2.7 

Latin/Caribbean, etc.) and the large number of residem Classical Music 2.98 2.84

Opera 2.59 1.86 jazz artists. The Hollywood Jazz Festival is a 3-day eventMusicals 2.68 2.3 which attracts international visitors; several jazz societiesPlays 2.46 2.45 and the Musician’s Exchange also presem jazz concerts. Ballet 2.42 1.77 Enjoying the warm climate, almost a third of all jazz Other Dance 1.72 2.03 

attenders saw their last jazz performance at a park or Art Museum/Gallery 2.88 2.62 

open-air facility, whereas relatively few attended Arts/Cra~s Fair/Festival 2.74 2.66 

nightclubs or jazz clubs. Historic Park/Monument 2.54 2.85 

Interestingly, attendance at ’Art Museums/Galleries’, ’Movies’, and ’Historic Sites’ do not correlate 

with the high rates for performing arts and are close to the averages for the 12 sites. One exception 

in this area is the high participation rate for ’Arts/Crafts Fairs and Festivals’; at 61%, it is second only 

to Rent among the 12 sites. Local cultural representatives indicate that the region’s superb weather 

and festival settings (e.g., Riverwalk and other public parks) are conducive to outdoor programming. 

Vendor-based arts and crafts festivals are scheduled nearly every weekend from October through 

May. 

Participation rates for literary activities, television exposure, and radio/recordings of traditional arts 

disciplines are less anomalous. Interestingly, the participation rates for watching opera on television 

- 59 ­
12 Local Surveys of Arts Participation Summary Report 

(28%, second only to Dade County) and for listening to opera on the radio or recordings (31%, ranks 

lst) are consistent with the high participation rate for live opera performances. 

Types of Venues Attended 

Traditional venue types were last attended by three-quarters of Broward respondents who reported 

attending at least one live performance. ’Theatres’ were attended by 43% of all audiences (ranks 1st); 

another 15% attended a ’Concert Hall or Opera House’; 11% attended a ’Civic Center’, while 6% 

reported attending a ’College Facility’. The Broward Center’s two venues, the Au-Rene Theatre at 

2,700 seats, and the Amaturo Theatre at 595 seats, could easily be classified as either theatres or 

concert halls. Otherwise, the Coral Springs City Centre may also account for high utilization of 

"Civic Centers." The high utilization of traditional theatres may be attributed in part to the high 

participation rates for ’Musicals’ and other disciplines typically seen in a traditional theatre setting 

(i.e. opera, ballet, and stage plays). 

Interest in Attending More Often 

Among Broward County respondents, 29% designated ’Art Museums/Galleries’ as their single 

highest priority (ranks 2nd to Rural Nevada) for more frequent attendance, significantly higher than 

similar figures for Santa Clara County, CA (20%), and King County, WA (19%), and second only to 

Rural Nevada (36%). Interest levels in other disciplines are average, with the exception of jazz, 

which only 11% of respondents (ranks last among the 12 sites) designated as their single highest 

priority for increased attendance. Overall, 71% of all Broward respondents indicated that they would 

like to attend arts events more often. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the Broward Cultural Affairs Council.
 
12 Local Surveys of Arts Participation Summary Report 

Dade County, Florida 

Encompassing the greater Miami area, Dare County, Florida is a rapidly growing community at the 

forefront of cultural change in America. According to 1990 census figures, approximately half of the 

population of Dare County is of Spanish origin, including significant numbers of Cubans and a 

growing Haitian community. Another 20% of 

the County population is African-American. 

Population growth totaled 28% between 1970 

and 1980 and another 19% during the 1980s. 

During 1992, the county’s population is expected 

to cross the 2 million mark, and projections 

indicate continued growth over the next five 

years and beyond. 

Demographic statistics do not fully capture the 

cultural diversity of Dade County, with its 

unique combination of permanent and seasonal 

residents, widely diverse minority populations, 

and traditional American families. Of the 12 

sites studied, Dare County income levels are 

most similar to the Pittsburgh/Allegheny County 

site, with 24% reporting incomes over $50,000 

and 44% with incomes under $25,000. Median 

household income for 1992 was estimated to be 

$28,764, similar to Pittsburgh ($29,920), but 

much less than Chicago ($38,022) and 

Philadelphia ($38,592). Only the Sedona, AZ 

site had lower median income than Dade County. 

Education levels for Dade County show greater 

concentration at the low end of the spectrum; 

while about 19% earned a Bachelor’s degree or 

higher, fully 34% did not graduate from High 

School and 18% did not go past the 8th grade 

(the highest percentage in this category for all 12 

sites). Similar to other large urban areas, single 

households constitute almost a quarter of all 

households. 

Arts Activity in Dare CoonIy Dade County Cultural Activity 

Like its population, Dade County’s cultural 

Cultural Attractions* community is rapidly growing and changing. 

Art Museums 

Art Galleries 

12 

184 

According to the Metropolitan Dade County 

Cultural Affairs Council, the number of cultural 

organizations in Dade County increased from 110 

Arts/Crafts Fairs/Festivals 350 in 1983 to nearly 600 in 1991. The resulting 

Historic Parks/Sites/Monuments 480 demand for resources (especially funding and 

facilities) is the primary challenge of the Cultural 

Affairs Council. 

*Data on # of performances not available. 

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12 Local Surveys of Arts Participation	 Summary Report 

Miami’s proximity to other population centers along 

the south Florida coast, including Ft. Lauderdale and 

the Palm Beaches, impacts the local cultural Dade County Arts 

environment by broadening the service area (and Participation funding base) of several of the larger arts 

organizations. The Florida Philharmonic, for Rates 

example, is based in Ft. Lauderdale and performs 

regularly in Miami and Palm Beach. Other groups 

which perform throughout the region include the CORE DISCIPLINES 

Miami City Ballet and the Greater Miami Opera. Jazz 14% 15% 

Classical Music	 12% 20% 

Other large arts institutions include the New World Opera 7% ,6% 

Symphony, a national training orchestra based in Musicals 20% 27% 

Miami Beach, and the Concert Association of Florida,Plays 15% 20% 

a non-profit presenting organization which brings a Ballet 10% 7% 

variety of orchestras, soloists, dance companies, and Other Dance 12% 10% 

popular entertainers to venues throughout the region. Art Museum/Gallery 35% 42% 

Any of 8 Core Disciplines 52% 62% 

The area boasts an active dance community, OTHER DISCIPLINES highlighted by the nationally-prominent Miami CityArts/Crafts Fair/Festival 45% 49% Ballet. Numerous smaller ballet companies and Attend Movie Theater 63% 73% schools reflect a strong community interest in that artHistoric Park/Monument 41% 44% form, and the variety of contemporary and ethnic 

dance companies reflect the popularity of dance as a LITERATURE 

form of cultural expression. Read Books for Pleasure 62% 73% 

Read Plays or Poetry or Novels 63% 69% 

Musical theatre programming is largely the domain of Read Plays 9% 8% 

Pace Theatrical Group, which promotes a series of Read Poet~. 31% 29% 

Broadway shows at the Jackie Gleason Theatre in Read Novels/Short Stories 56% 64% 

Miami Beach. A range of professional and amateur Hear Poetry 21% 15% 

theatre companies, including approximately 10 Hear Novels/Books 16% 13% 

culturally-specific troupes, offers a wide variety of TELEVISION EXPOSURE programming. One of the area’s most popular Jazz	 38% 36% companies, the Coconut Grove Playhouse, offers six Classical Music	 45% 44% productions annually in its 1,100-seat theatre. Opera 31% 23% 

Musicals 33% The County’s visual arts community is equally	 29% 

Plays	 28% 27% diverse. Although Miami lacks a flagship art museumAny Dance	 39% 36% on the order of The Carnegie in Pittsburgh, several Artists/Art/Art Museums 43% 43% culturally-specific museums, such as the Cuban Any TV Exposure 77% 75% Museum of Arts and Culture and the Black Heritage 

Museum, add a richness not found in other cities.
 RADIO OR RECORDINGS

Numerous commercial and non-profit art galleries Jazz 44% 51%
 

feature the works of local artists.	 Classical Music 61% 61% 

Opera 29% 28% 

Dade County Performance Facilities	 Musicals 23% 23% 

Plays 11% 10% 

The recent growth of Miami’s major arts institutions Any Radio/Recordings 70% 77% 

has created demand for new facilities with improved 

technical capabilities.Representatives of the arts community recognize the need to expand access to 

- 62 ­
12 Local Surveys of Arts Participation Summary Report 

performance facilities for the city’s large organizations and for the many emerging arts groups.
 

Planning is underway for a new, multi-venue performing arts center which could open as early as
 

1996. Presently, Dade County’s active venues with more than 800 seats are all owned by public
 

agencies and include:
 

 ̄ Dade County Auditorium, in residential Miami (2,498 seats)
 

 ̄ TOPA - Jackie Gleason Theatre, in south Miami Beach (2,705 seats)
 

 ̄
 Gusman Center, in downtown Miami (1,709 seats) 

 ̄ Victory Park Auditorium, in North Miami Beach (1,200-seats) 

 ̄ Joseph Caleb Auditorium, in Miami (1,000 seats) 

 ̄ Manuel Artime Performing Arts Center, in Miami (804 seats/442 in use) 

The Effect of Weighting on Dade County Survey Results 

As noted above, sampling was weighted to gain more respondents in those areas in which a low
 

response rate was expected. Since a stratified sampling methodology was used, results should not be
 

used to make inferences about the total county population without making adjustments to the sample
 

data. Weighting procedures conducted by Abt Associates adjusted for four demographic variables
 

(age, gender, race, and household income), and had a relatively minor impact on survey results (see
 

Table A). Generally, weighting procedures 

lowered participation rates by one or two TABLE A percentage points, except for ’Opera’ 

participation, which rose 1.7% after Effect of Weighting on weighting. (Consult the methodology Dade County Arts Participation Rates section of this report for additional 

information about weighting procedures.) Raw Weighted 

Arts Participation in Dade County Jazz 15.7% 14.3% -1.4%
 

Classical Music 14.4% 12.4% -2.0%
 Arts participation rates in the traditional Opera 5.7% 7.4% +1.7% disciplines do not capture the cultural Musicals 21.1% 20.3% -0.8% richness of the community. ’Classical Plays 16.9% 15.2% -1.7% Music’ participation for Dade County, at Ballet 10.7% 10.3% -0.4% 12%, is the lowest of any urban site Other Dance 12.9% 12.2% -0.7% studied, surpassing only Las Vegas (9%) Museums 36.6% 35.4% -1.2% and Rural Nevada (10%) among the 12 

sites studied. Those who do attend 

classical music performances, however, go more frequently than their counterparts in other cities. 

Given the healthy supply of classical music performances by the Florida Philharmonic and the New 

World Symphony, in addition to numerous presentations of touting artists and chamber groups, the 

lower participation rate most likely relates to demographic and cultural factors. The European-based 

classical music tradition is not part of the cultural heritage of a majority of Dade County’s population, 

and lower participation rates would be expected. 

Jazz participation (14%) is closer to the 12-site average of 15% and places Dade County between 

Chicago (16%) and Philadelphia (12%). Participation rates lbr other types of musical performances, 

including ethnic/traditional music, were not researched, but could be expected to uncover an 

important aspect of arts participation in Dade County. 

Generally, participation rates for disciplines based on the spoken word (i.e., musicals and plays) are 

lower for Dade County, while participation rates for ’Ballet’ and ’Other Dance’ (i.e., disciplines based 

- 63 ­
12 Local Surveys of Arts Participation Summary Report 

on movement) are higher. Language barriers might
 

contribute to the lower participation for musicals and
 Dade County- plays, although a number of theatre companies present
 

Mean Frequency of performances in Spanish. Dade County’s 20%
 

participation rate for ’Musicals’ contrasts sharply with
 Attendance Among ,~ Broward County’s 34% rate (even though the two
 

Attenders "~ "~ counties are adjacent), and is the lowest of the large


~ < urban areas studied. During the 1991-92 season, Pace 

Jazz 3.35 2.7 Theatrical Group presented approximately 80 

Classical Music 3.72 2.84 performances of Broadway shows at the Jackie 

Opera 1.77 1.86 Gleason Theatre in Miami Beach, drawing over 

Musicals 2.76 2.3 110,000. With such a steady supply of programming 

Plays 3.08 2.45 (arid excess capacity), other factors seem to constrain 

Ballet 2.02 1.77 participation in this discipline. 

Other Dance 2.61 2.03 

Art Museum/Galle ry 2.69 2.62 A similar story emerges for participation in ’Plays’; 

Arts/Crafts Fair/Festival 2.48 2.66 Dade County’s 15% rate is lowest of the urban sites 

iHistoric Park!Monument 3 2.85 studied. Philadelphia and Pittsburgh, both with 18% 

participation rates for ’Plays’, are most comparable, 

although Seattle’s 29% rate is almost twice as high. With Spanish as the primary language for so 

many of its residents, and with such a diverse minority population, Dade County and its theatre 

community face some unique challenges. Table l(a) in the appendix shows arts participation rates 

for demographic sub-groups. Results show that Hispanic/Latino respondents (from all 12 sites 

combined) are less than half as likely to attend ’Plays’ than white respondents: 

Arts Participation Rates for Demographic Sub-Groups 

Excerpted from Table 1 (a) 

Classical Other 

Jazz Music Opera Musicals Plays Ballet Dance 

RACE~ERITAGE
 

White 15% 22% 8% 30% 21% 8% 10%
 

African-American 19% 13% 2% 24% 16% 3% 9%
 

Hispanic 13% 6% 2% 16% 9% 4% 10%
 

These data offer substantial insight into Dade County’s participation rates. Note especially that
 

Hispanic participation in ’Other Dance’ (10%) equals the rate for white respondents. Dade County’s
 

12% rate for ’Other Dance’ reinforces the notion that dance, as an art form, is indigenous to many
 

cultures, in contrast to other performing arts disciplines covered in this research. Those who attend
 

’Other Dance’ performances in Dade County also attend more frequently than their counterparts in
 

other cities.
 

Although minority respondents are half as likely to attend ’Ballet’, Dare County’s 10% participation
 

rate for ’Ballet’ is twice the figure for Philadelphia and Chicago (both at 5%). The Miami City
 

Ballet’s rapid ascent to national prominence (it is currently the 7th largest ballet company in the U.S.)
 

and its impact on the local community through regular performances, outreach, and education
 

programs clearly contribute to this high participation rate. To the north, Broward County’s 13% rate
 

for ’Ballet’ is also supported by this institution.
 

Literature participation rates for Dade County, as might be expected, are somewhat lower than
 

averages for the 12 site combined; in several categories Dade County compares favorably to
 
12 Local Surveys of Arts Participation Summary Reporl 

Pittsburgh. Interestingly, of all the urban sites studied, Dade County has the highest participation 

rates for attending readings of books or poetry. 

In contrast to attendance at live performances, media participation rates for Dade County compare 

similarly to other urban sites studied, with several exceptions. Both Dade and Broward counties have 

high rates for television exposure to opera. Also, Dade County’s 44% participation rate for listening 

to recordings of jazz is lower than Chicago’s (56%) and Broward County’s (51%), but higher than 

Pittsburgh’s (40%). 

Interest in Attending More Often 

Overall, 70% of Dade County respondents reported an interest in attending arts events more often; 

this figure is not significantly different than Chicago (68%) or Broward County (71%) but is 

somewhat higher than Pittsburgh (66%). In contrast to other urban sites, Dade County respondents 

were less likely to list ’Musicals’ as their highest priority for attending more often and more likely to 

select ’Ballet’ and ’Art Museums/Galleries’ as the single discipline that they would like to attend more 

often. These findings are consistent with participation levels and indicate again that a high level of 

participation in a particular discipline breeds additional interest, and vice versa. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA. Other information 

provided by the Metropolitan Dade County Cultural Affairs Council. 

- 65 ­
12 Local Surveys of Arts Participation Summary Report 

Santa Clara County, Califomia 

Santa Clara County, at the southern end of the San Francisco Bay Area, has experienced rapid 

population growth over the past two decades, and the City of San Jose is now one of California’s 

largest centers of commerce and population. A comprehensive downtown redevelopment plan, a 

rapid transit system, and the skyrocketing growth rate of nearby Silicon Valley have all conU’ibuted 

to San Jose’s emergence from "edge city" status to that of an independent urban center. Nearly one in 

five residents are Hispanic/Latino, and a growing Asian community represents another 10% of the 

population. Median household income in 1991 

was close to $52,000, a level far above both About the Sample... 

national and state averages. Families represent an 

increasingly larger percentage of households, sampled area includes all of Santa Clara 

with significant numbers headed by single County, excluding telephone exchanges 

parents. (408) 842, 847, and 848 (Gilroy area). 

sample size = 401 

Ar~ A¢livity in Santa Clara County 

Samole Demogra0_ hics* The arts have not been bypassed by the region’s 51% female, 49% male 

fast growth but rather have prospered with it. 67% white, not Hisoanic 

New or planned cultural facilities include a 18% I-Iispanic~atino, 8% Asian 

renovated art museum, a new home for the local 51% have incomes > $50,000/yr. 

repertory theatre company, and renovation of the 43% completed college; 

historic Fox Theatre downtown. Nearby 16% have graduate degrees 

communities have also recently opened facilities *weighted data 

(Mountain View Center for the Performing Arts) 

which draw Santa Clara County residents away from the traditional cultural centers of San Francisco 

and Oakland. Recent experiences with outdoor productions in the downtown area (i.e., outdoor Jazz 

Festival and Le Cirque du Soleil) have proven that the city itself can serve as a suitable venue for 

various types of performances. 

Some of the most exciting cultural developments in 

the county are in the area of multi-cultural performing Santa Clara County Cultural arts collaborations involving Asian, Latino, and East Activity Indian music and dance companies. The cultural 

Cultural Attractions community in the region is striving to develop a

supportive infrastructure for arts and culture through Art Museums 4 audience development and outreach activities. :Art Galleries 16 

Arts/Crafts Fairs/Festivals 20 Arts Participation in Santa Clara County Historic Parks/Sites/Monuments 6 

Performing Arts Activity* For each of the seven performing arts disciplines 

Jazz 375 surveyed, participation rates for Santa Clara County 

Classical Music 202 generally fall in the middle of the distribution for all 

lopera 58 12 sites, with a tendency to be somewhat higher than 

average. An exception is found in the area of ’Jazz’ Musicals 473 with a participation rate of 19% (tied for 2nd of 12 Plays 992 sites). In addition to a lively nightclub scene, (26% of Ballet 53 jazz attenders last attended a nightclub or jazz club), a
 

Other Dance 115 summer jazz festival takes place on six stages
 

*Number of Reported Performances over a throughout downtown San Jose and offers free
 

Recent 12-Month Period
 performances for three days. Consequently, another 
12 Local Surveys of Arts Participation	 Summary Report 

22% of jazz attenders last attended a ’Park or Open-


Air Facility’. The area’s large Latino population
 

enjoys concerts and dances featuring salsa and Afro- Santa Clara
 

Caribbean music, which also have been reported as
 County Arts jazz participation. 

Par ticipation

In comparison to other sites, Santa Clara County Rates respondents also reported significantly higher 

participation rates for ’Ballet’ (9%, ranks #4) and 

musical theatre (30%, ranks #3). The county’s CORE DISCIPLINES

resident professional dance company, the San ’Jazz 19% 15% 

Classical Music Jose/Cleveland Ballet, produces an annual season in 21% 20% 

San Jose, while professional ballet companies can also Opera 8% 6% 

be found within an hour’s drive in San Francisco and Musicals 30% 27% 

Oakland. Touring ballet companies also perform at Plays 21% 20% 

universities throughout the Bay Area. Ballet 9% 7% 

Other Dance 9% 10% 

Also figuring in the relatively high participation rateArt Museum/Gallery 44% 42% 

for ’Ballet’ may be attendance at performances by Any of 8 Core Disciplines 67% 62% 

Ballet Folklorico organizations, a form of ethnic OTHER DISCIPLINES 

dance popular among Latinos and prevalent in Santa Arts/Crafts Fair/Festival 54% 49% Clara County. Attend Movie Theater 78% 73% 

Historic Park/Monument 51% 44% 

The area’s rich diversity of cultural activity is not LITERATURE adequately reflected in the categories surveyed. For 

example, attendance at performances of ethnic music Read Books for Pleasure 74% 73% 

cannot be considered either ’Classical Music’ or ’Jazz’ Read Plays or Poetry or Novels 72% 69%

participation, and consequently were unrecorded, even	 Read Plays 10% 8% 

though it is a major area of arts activity in Santa Clara Read Poetry 29% 29%

Read Novels/Short Stories 70% 64% County. Further, local representatives report a 

growing number of non-traditional collaborative Hear Poetry	 20% 15%

productions involving the region’s Latino and Asian
 Hear Novels/Books 16% 13%

communities, often featuring music and dance on theTELEVISION EXPOSURE
 

same program. It is unclear to what extent attendanceJazz 36% 36%
 

at these types of performances was reported, given the Classical Music 36% 44%
 

limited discipline definitions and the interview Opera 23% 23%
 

protocol. Musicals 29% 29%
 

Plays 29% 27% 

Of particular note in Santa Clara County is the high Any Dance 34% 36% 

rate of attendance at ’Historic Sites’, with 51% of Artists/Art/Art Museums 37% 43% 

respondents having visited such a site over the past Any TV Exposure 74% 75% 

year (ranks #2 of 12 sites). While local representatives RADIO OR RECORDINGS have reported only six such sites in the County, at Jazz	 57% 51% least three are unique for their stature in the Classical Music 65% 61% community. Kelly Park is a collection of historic Opera	 27% 28% buildings and replicas near downtown San Jose; the Musicals 24% 23% Winchester Mystery House is a popular destination to Plays	 8% 1 0% which local residents take out-of-town visitors for 

Any Radio/Recordings 81% 77% tours and special events; and Villa Montalvo, an 

historic home, is also a site for performing arts events. 

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12 Local Surveys of Arts Participation Summary Report 

Santa Clara Performing Arts Bars, Clubs & College/Univ. Alternative TOTAL 

County Venues Facilities Dinner Theatres Venues Venues 

# of Total # of Total # of Total # of Total # of Total 

SEATENG CAPACITY Venues Seats Venues Seats Venues Seats Venues Seats Venues Seats 

Up to 300 12 2058 2* 325* 4 850 11 2230 27 5138 

301 - 850 5 2355 N/A N/A 5 3889 4 2450 14 8694 

851 - 1500 1 1000 0 0 1 1081 2 2160 4 4241 

1501 - 2500 0 0 0 0 1 1722 2 4000 3 5722 

Over 2501 3 8187 0 0 2 13500 1 20000 6 41687 

Total Seat Count by Type 21 13600 0 0 13 21042 20 30840 54 65482 

* list incomplete 

Figures for frequency of attendance are very similar to the averages for all 12 sites. Although 

participation rates for Santa Clara County respondents are higher in some categories, those who 

participate do not attend more or less frequently than their counterparts in other cities. 

For the most part, rates of participation in the arts through the media are also not significantly 

different in comparison to most of the other 11 sites. However, literature participation rates for 

Santa Clara County tend to be somewhat higher, especially in the categories of ’Reading Novels or 

Short Stories’, and ’Attending Poetry Readings’. This finding is consistent with the observation that 

higher education levels are related to higher literature participation rates. Santa Clara County ranks 

third among all sites in the number of respondents with college degrees (23.6%), and first among all 

sites in the number of respondents with graduate degrees (18.2%). 

Venue T _vpes Attended 

Santa Clara County ~ Seventy-seven percent of those respondents who Mean Frequency of participated in any of the seven performing arts
 

disciplines reported last attending a traditional performingAttendance Among U. ~
"~ arts venue (i.e. ~I’heatre’, ’Concert Hall or Opera House’, ~ Attenders ’College Facility’, etc.). This figure is comparable to the 

other large urban areas studied. A comparison of the Jazz 2.45 2.7 

venue types attended with the actual facility inventory ofClassical Music 2.74 2.84 

the area shows that college and university facilities play Opera 1.92 1.86 

Musicals 2.28 2.3 an essential role in the performing arts delivery system. 

Plays 2.73 2.45 Four educational institutions host performing arts Ballet 1.35 1.77 activities: San Jose State University, Santa Clara Other Dance 2.25 2.03 University, Stanford University, and Foothill CommunityArt Museum/Gallery 2.57 2.62 College. It is therefore no surprise that Santa Clara Arts/Crafts Fair/Festival 2.79 2.66 

County boasts the highest percentage (12%) of reported Historic Park/Monument 3.02 2.85 

attendance at college facilities of all the sites surveyed, 

with the exception of Las Vegas. Among the disciplines, 

respondents attended ’Other Dance’ performances at college facilities more frequently than at any 

other type of venue. 

Interest in Attending More Frequently 

With respect to interest in attending arts events more frequently, Santa Clara County respondents 

expressed interests similar to those of respondents in other cities. ’Musicals’ (22%), ’Art 

- 68 ­
12 Local Surveys of Arts Participation Summary Report 

Museums/Galleries’ (20%), and ’Jazz’ (19%) were most frequently cited as the single cultural activity 

that respondents would like to attend more often. Compared to average figures for the other 11 sites, 

only ’Jazz’ received a significantly higher percentage of interest (19%, ranks 2nd to Las Vegas). 

Overall, 68% of those surveyed would like to attend arts events more often. 

Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
 

Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
 

provided by the City of San Jose Office of Cultural Affairs.
 

- 69 ­
12 Local Surveys of Arts Participation	 Summary Report 

IIl. SPECIAL TOPICS 

The primary focus of this report is arts participation at the local level, and the relationship between 

participation patterns and the supply of local arts activity. However, data from the 12 Local Surveys 

is rich with information about a variety of additional topics of relevance to arts managers, funders, 

and policy makers. For example, results from questions about participation, venue types attended, 

sources of information, etc., can be cross-tabulated with demographic variables to uncover possible 

underlying differences. Although the opportunities for detailed analysis of this data are almost 

endless, several of the more interesting special topics are addressed below. 

A. Factors Related to Arts Participation 

A statistical procedure called ’discriminant analysis’ was used to determine the demographic 

variables which distinguish between those respondents who participate in each of the arts 

activities and those who do not. Results from this analysis identify which factors contribute 

the most to whether a respondent belongs in a specific group (e.g., ’Classical Music’ 

attenders, etc.). For example, it was observed that of all the demographic variables, the 

education variable ’Graduate Degree’ related most strongly to ’Classical Music’ participation. 

Although this analysis does not prove causality (i.e., that having a graduate degree causes 

’Classical Music’ participation), it does sift out what factors are most related to participation 

in the various disciplines. 

Combined data from all 12 sites were analyzed. Age, race, gender, income, education, 

marital status, and household size were all tested against each of the categories of arts 

participation. Results show that: 

Of all the demographic variables tested, education levels, particularly ’High School 

Degree’, ’Bachelor’s Degree’ and ’Graduate Degree’, have the strongest relationship to arts 

participation in each of the 8 core disciplines. This finding is generally consistent with 

the results of previous research on arts participation, including the 1982 and 1985 

SPPAs. 

 ̄	 The difference in participation rates among races is greater with respect to ’Classical 

Music’, ’Opera’, and ’Art Museum/Gallery’ participation, and less for ’Jazz’, ’Musicals’, 

~Plays’, ’Ballet’ and ’Other Dance’. 

 ̄	 High Income ($100,000+) is associated with participation in ’Classical Music’, ’Opera’, 

’Musicals’ and ’Art Museums/Galleries’. Income levels, generally, are less related to 

participation in ’Other Dance’. 

Age is a significant discriminating factor for ’Classical Music’ and ’Opera’ participation, 

but much less so for other disciplines. For example, 41% of ’Opera’ attenders fall into 

the 40-59 age bracket, and another 30% fall into the 60+ age bracket. In contrast, ’Jazz’ 

attenders are more evenly distributed across all age brackets (only 46% are over age 40). 

 ̄	 Marital status is not a particularly strong factor related to arts participation, although 

’Married’ is significantly related to ’Classical Music’ participation, and ’Never Married’ is 

signififantly related to attendance at ’Arts/Crafts Fairs or Festivals’. 

- 70 ­
 

12 Local Surveys of Arts Participation Summary Report 

Combining data from the 12 sites does not produce a nationally representative sample, and 

data sets are too small to conduct this analysis on a site by site basis. Other statistical 

procedures, including multiple regression analysis, were used on data from the 1982 and 

1985 SPPAs to evaluate demographic variables as predictors of arts participation. Reports 

from these studies should be consulted for further information about the demographic and 

socio-economic characteristics of arts attenders. A bibliography of research on arts 

participation appears in the appendix. 

B. Cross-Discipline Participation Rates 

While it is valuable to study participation rates for the individual disciplines, the data also 

provides information about overlapping audiences between the various disciplines. Table 11 

(below) presents cross-discipline participation rates for all of the 12 sites combined. Use this 

table to look up what percentage of attenders in a particular discipline also attend the other 

disciplines. 1 This information might be useful to a marketing manager, for example, in 

targeting mailings for a particular production or series. A number of interesting 

observations can be made from these data: 

CROSS-DISCIPLINE PARTICIPATION RATES 

12 Local Surveys of Public Partcipafion in the Arls 

(Weighted Percentages for 12 Sites Combined) 

Reference Audience 

(Read down each column for results) 

Table 11 

,,Percent Also Attending... 

Jazz ~[i~ 27% 21% 25% 28% 34% 29% 26% 

Classical Music 34% ~	 55% 36% 36% 51% 46% 34% 

Opera	 9% 19% ~ 12% 12% 23% 12% 12% 

Musicals	 46% 52% 51% g~[~ 57% 52% 49% 41% 

Plays 37% 38% 38% 41% ~_~ 46% 47% 31% 

Ballet 16% 19% 25% 13% 16% ~ 16% 12% 

Other Dance 20% 25% 19% 19% 24% 24%~; 18% 

Museums/Galleries 73% 75% 80% 62% 67% 71% 74% ~ ~ 

HOW TO READ THIS TABLE: Among ’Opera’ participators, 25% also attended ’Ballet’. 

 ̄	 Interest in dance does not necessarily cross from one genre to another: Only 24% of 

’Ballet’ attenders also reported attending ’Other Dance’, while even fewer ’Other Dance’ 

attenders also attended ’Ballet’ (16%). 

1For an analysis of overlapping audiences from the 1982 SPPA, consult the University of 

Maryland’s’report Public Participation in the Arts: Final Report on the 1982 Survey, pages 

204-211. 

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12 Local Surveys of Arts Participation	 Summary Report 

 ̄	 While 55% of ’Opera’ attenders also attended ’Classical Music’, the reverse is less 

common. Only 19% of ’Classical Music’ attenders also attended ’Opera’. 

 ̄	 ’Musicals’ and ’Plays’ seem to have the strongest "mutual attraction" of audiences; 

crossover from ’Musicals’ to ’Plays’ was 41%, while crossover from ’Plays’ to ’Musicals’ 

was 57%. 

Generally, performing arts attenders are very likely to also attend ’Art Museums/ 

Galleries,’ with crossover rates ranging from 62% (’Musicals’) to 80% (’Opera’). In 

contrast, ’Art Museums/Galleries’ attenders are much less likely to cross over to the 

performing arts disciplines, with crossover rates ranging from just 12% for ’Ballet’ and 

’Opera’ to 34% for ’Classical Music’ attenders 

A similar analysis can be conducted with data from each site. For the arts manager, results 

from this analysis might be useful in assessing the potential impact of marketing efforts to 

attenders of various disciplines. 

C. Frequency of Participation Data 

Participators in each discipline were asked how many times they had attended performances 

of that discipline over the past year. The resulting data (referred to as "frequency of 

participation") was compiled for each site, and presented in tabular format in each site 

discussion. For example, the popularity of visual arts activities in Sedona, AZ is evidenced 

not only by a high participation rate for ’Museums/Galleries’ (77%), but also by the fact that 

those who did visit museums/galleries did so more frequently (6.34 times over the past year, 

on average) than their counterparts in other cities (3.45 times for all sites combined). 

Usually, the distribution of data for frequency of participation in any discipline was skewed 

by several very high observations. In other words, someone inevitably reported attending 

(’Opera’, for example) 20, 30, or even 50 or more times, while almost everyone else went 

only once or twice. These observations are not necessarily invalid, but they present a 

statistical problem in that they exert an undue influence when computing average figures. 

Therefore, all frequency of attendance observations greater than 12 were excluded from the 

data set for the purposes of computing mean frequency figures. Typically, this procedure 

only eliminated several observations. 

The vast majority of participators attended any given discipline only several times, at a 

steeply declining rate: 

 ̄	 38% of all participators attended a given discipline only once 

 ̄	 Another 37% of participators attended two or three times 

 ̄	 Another 17% attended between four and six times 

These data become more interesting as frequency numbers rise above 6. Instead of 

continuing to decline at a steady rate, the data begin to cluster at certain numbers, including 

10, 12, 15, 20, 24, 25, and 52 - numbers which are multiples of 5 and 10, or calendar units 

(12 = once a month, 24 = twice a month, 52 = once a week). To generalize, it appears that 

frequency of participation figures change from actual to estimated somewhere around the 

number 6. 

- 72 ­
 

12 Local Surveys of Arts Participation Summnry Reporl 

Demographics of the Most Frequent Attenders 

Respondents were categorized into five mutually-exclusive groups based on the highest 

number of times they had attended any one of the 8 "core" disciplines (7 performing arts 

disciplines plus ’Art Museums/Galleries’): 

Those who did not attend 

2. Those who attended once 

3. Those who attended two or three times 

4. Those who attended four or five times 

5. Those who attended six or more times 

For example, if a respondent reported attending ’Musicals’4 times in the past year, ’Plays’ 

twice, and ’Classical Music’ once, they would be categorized in group #4, above, because 

their highest frequency was 4. 

These frequency categories were then cross-tabulated with demographic characteristics to 

facilitate analysis. Results are presented in Table 9(a) in the appendix. As frequency of 

participation increases, respondents tend to fall into higher age, income, and education 

brackets. Education levels, particularly, rise consistently with more frequent attendance: 

I~DUCATION ~ BY FRBQUI~CY OF PARTICIPATION 

[] High School or Lower  ̄ Some College  ̄ Bachelor’s [~gree or Higher / 

70% 

0 Times 1 Time 2 or 3 Times 4 or 5 Times 6+ Times 

Attended Any of 8 "Core" Disciplines... 

Generally, demographic characteristics follow a consistent pattern of change until frequency
 

of participation reaches ’4 or 5 Times’, after which there is a leveling out or reversal of the
 

trend. For example, the percentage of respondents in the ’60 and Over’ age bracket increases
 

steadily as frequency of participation rises:
 

Frequency % 60 and Over
 

1 Time 16%
 

2 or 3 Times 21%
 

4 or 5 Times 24%
 

6+ Times 29%
 

- 73 ­
12 Local Surveys of Arts Participation Summary Report 

The racial/ethnic distribution of those who did not attend any of the 8 "core" disciplines is 

different than the racial distribution of those who attended at least once (see table below). 

Minority populations account for almost a third of all non-attenders (32%), but less than a 

quarter of those who attended once (22%), 2 or 3 times (20%), or 6 or more times (17%). 

Oddly, this trend reverses for the group of respondents who attended 4 or 5 times, with 29% 

minority composition. 

RACIAIJEHtNIC MINOR1TI~ BY FREQUENCY OF PARTICIPATION 

l African-American  ̄ Hispanic [] Other Minority 

35% 

30% 

~ 25% 

.20%
 

~ 15%
 

~10% 

~. 0% 

0 Times 1 Time 2 or 3 Times 4 or 5 Times 6+ Times 

Attended Any of 8 "Core" Dlsdplines... 

With respect to gender, females account for larger percentages of attenders as freqency of 

attendance increases. This trend is reversed, however, at the highest level (6 or more times), 

where participation by males exceeds that for females by over 10%. Frequency of 

participation data from the 1992 SPPA should be examined in light, of these results. 

Number of Disciplines Attended 

Adding another dimension to the analysis of participation rates and frequency of 

participation, a separate analysis was conducted to examine the demographic characteristics 

of respondents based on the number of different disciplines attended. In other words, how 

does the respondent who attended ’Jazz’ performances four times differ from the respondent 

who attended four disciplines once? Both may have attended a total of four times, but how 

do they differ? Results are presented in Table 10 in the appendix. Generally, demographic 

characteristics change dramatically as the number of disciplines attended goes up: 

 ̄ Almost half of all respondents who attended six or more of the 8 "core" disciplines fall 

into the 40 - 59 age bracket. 

 ̄ Married persons are significantly more likely to attend multiple disciplines. 

 ̄ Respondents with incomes over $100,000 are more than 3 times as likely to attend 4 or 

more disciplines as they are to attend only one discipline. 

 ̄ Education levels increase dramatically as the number of disciplines attended goes up (see 

chart on the following page). 

- 74 ­
12 Local Surveys of Arts Participation	 Summary Repor~ 

I~DUCATION L~ BY NUMBI~ OF DISCIPLIN]~ A~I~D 

I["] High School or Lower  ̄ Some College  ̄ Bachelor’s Degree orHigher 

70% 

6O% 

50% _ 

40%	 _ 

30%	 _ 

20%	 -­

10%	 _ 

0%	 _ 

None 1 Discipline 2 or 3 Disciplines 4 or 5 Disciplines 6 to 8 Disciplines 

Number or" 8 "Core" Disciplines Attended... 

Utilization of Venues by Discipline 

The 1982 and 1985 SPPAs asked respondents simply to list all types of venues attended for 

all performances. However, the 12 Local Surveys queried venue types for each discipline, 

providing a new level of information about this subject. Table 3(a) in the appendix shows 

venue utilization for each site (for all disciplines combined). Table 3(b), which is reproduced 

below, shows venue types attended by discipline. As might be expected, venue utilization 

varies substantially by discipline. 

Venue types are sorted into three categories for easy reference; performing arts facilities (i.e. 

"lraditional" venue types), clubs/dinner theaters, and "alternative" venues. Consult the table 

for details. Highlights of these data include: 

 ̄	 "Traditional" venue types were used almost exclusively for ’Opera’ (95%1) and ’Ballet’ 

(90%), presumably because of the involved technical demands of these productions and 

the limited technical capacities of other types of venues. 

 ̄	 ’Nightclubs/Jazz Clubs’ and ’Dinner Theatres’ were last attended by a third (33%) of all 

’Jazz’ attenders, while another 20% attended ’Jazz’ concerts at ’Parks/Open-air Facilities’. 

"Traditional" performing arts venues were utilized by only 37% of ’Jazz’ attenders. 

 ̄	 Approximately 10% of all ’Classical Music’ attenders reported attending their most recent 

concert at a ’Church or Synagogue’, underscoring the importance of these venues in the 

performing arts delivery system. 

’Dinner Theatres’ were most recently attended by 13% of audiences for ’Musicals’, 

indicating that small-scale musical theatre productions are an important part of the 

supply of arts activities. More people attended ’Musicals’ in ’Dinner Theatres’ (13%) than 

’Concert Halls/Opera Houses’ (11%) or ’Civic Centers’ (5 %). 

 ̄	 Traditional theaters account for 59% of utilization for both ’Musicals’ and ’Plays.’ 

- 75 ­
 

 

 

12 Local Surveys of Arts Participation Summary Report 

VENUE TYPES ATTENDED BY DISCIPLINE 

12 Local Surveys of Public Participation in the Arts 

(Weighted Percentages for 12 Sites Combined) 

Table 3(b) 

Concert Hall or Opera House 39% 61% 11% 9% 30% 12%
 

Civic Center 5% 6% 5% 5% 4% 10% 5%
 

Theatre 16% 17% 26% 59% 59% 43% 28%
 

College Facility 7% 12% 3% 3% 9% 7% 12%
 

Performing Arts Facilities 37% 74% 95% 78% 81% 90% 57%
 

Coffee House 1% 0% 0% 0% 0% 0% 0% 

Dinner Theatre 7% 2% 2% 13% 9% 2% 3% 

Nightclub/Jazz Club 25 % 0% 0% 1% 1% 1% 3 % 

Clubs/Dinner Theatre 33% 2% 2% 14% 10% 3% 6% 

Church or Synagogue 2% 10% 0% 1% 2% 0% 3% 

Secondary School Facility 2% 3% 0% 2% 2% 3% 10% 

Museum or Arts Gallery 1% 0% 0% 0% 0% 0% 1% 

l.,ibrary 0% 1% 0% 1% 0% 0% 1% 

Park or Open-Air Facility 20% 6% 2% 2% 2% 1% 12% 

Town Hall/City Hall 0% 0% 0% 0% 0% 0% 1% 

YMCA, YWCA, YMHA, YWHA 0% 0% 0% 0% 0% 0% 1% 

Alternative Venues 25% 20% 3% 6% 7% 5% 28% 

Other 5% 4% 0% 1% 1% 2% 8% 

Don’t Know 0% 0% 0% 1% 2% I 1% 0% 

Refused 0% 0% 0% 0% 0%[ 0% 0% 

TOTAL 100% 100% 100% 100% 100% 100% 100% 

HOW TO READ THIS TABLE: One quarter of all jazz attenders in the combined sample 

reported seeing their most recent jazz performance at a ’Nightclub/Jazz Club’. 

Within the category of ’Performing Arts Facilities’, the data suggest that respondents had 

difficulty classifying facilities based on the venue types provided. In some cases, 

respondents reported attending ’Concert Halls/Opera Houses’ in cities where none exist, and 

frequently confused ’College Facilities’ with q’heatres’ and other venue types. Definitions of 

venue types were not provided in the survey. 

A similar analysis can be conducted for each site, although the number of attenders for each 

venue type are often too low to produce statistically reliable results at an acceptable level of 

confidence. 

- 76 ­
12 Local Surveys of Arts Participation Summary Repor~ 

E. Utilization of Venues by Demographic Characteristics 

Further examination of venue types attended was conducted to reveal any demographic 

differences between respondents who utilize the various venue types. Table 3(c) shows 

venue utilization by demographic characteristics (race, age, and income) for the 12 sites 

combined. A number of interesting observations can be found in this data, although 

sampling error rates limit the reliability of some of this data. (Also, given the large 

differences in utilization of venue types by discipline, it is of limited value to aggregate all 

venue utilization except for very general purposes.) 

African-American and Hispanic respondents used "purpose-built" concert halls and opera 

houses less frequently than Whites. This may be attributed in part to the nature of 

programming (opera and ballet, esp.) which is typically presented at these venues, in 

addition to a host of accessibility issues including transportation and ticket prices. 

 ̄	 Hispanic respondents were about three times more likely to utilize ’Civic Centers’ (14%) 

than African-American respondents (4%) and white respondents (5%). 

As might be expected, use of ’College Facilities’ is most prevalent among the youngest 

respondents (13% for ages 18-29, but only 5% for ages 40-59). Utilization of 

’Nightclubs/Jazz Clubs’ also drops off in the higher age brackets (7% for ages 18-29 vs. 

2% for ages 60+). 

 ̄	 As might be expected, the very wealthiest respondents are less likely to attend 

’Alternative Venues’, and more likely to attend traditional theaters. 

F. Sources of Information by Demographic Characteristics 

All respondents to the 12 Local Surveys were asked "How do you learn or find out about arts 

events in your community?" Complete results are presented in Table 6(b) in the appendix. 

For analysis, responses were categorized into several groups, with results as follows: 

% of 

Respondents* Categories of Sources of Information
 

82% Any Media (newspapers, television, radio, magazines)
 

24% Any Word-of-Mouth (word of mouth, friends/relatives)
 

16% Any Targeted Appeal (mailing/flyer, telemarketing)
 

15% Any Other (posters/notices, school notices, other)
 

*percentages do not total 100% because multiple selections were allowed. 

Overall, results show that newspapers (74%) are the most frequent source of information on 

arts events. ’Television’ (26%), ranks higher than ’Radio’ (20%) as a source of information 

about arts events, with ’Word-of-Mouth’ and ’Mailing/Flyer’ each reported as a source of 

information for 16% of respondents. Only 10% of respondents reported that 

’Friends/Relatives’ were a source of information about arts events, while 9% received 

information from ~Posters/Notices’. With respect to demographic characteristics, several 

observations are of interest: 

- 77 ­
12 Local Surveys of Arts Participation	 Summary Report 

 ̄	 Respondents between the ages of 30 and 59 tend to get arts information from 

newspapers. Respondents aged 30 to 39 also reported ’Radio’ as a source of information 

more frequently than respondents in other age categories. 

 ̄ Respondents ’60 and Over’ years of age are more likely to receive arts information from 

’Mailings/Flyers’. 

 ̄ Younger respondents aged 18 - 29 are more likely than other age groups to receive arts 

information from ’Posters/Notices’ and ’School Notices’. 

 ̄	 Females reported ’Mailings/Flyers’ as a source of information about arts events more 

frequently than males. Women also reported ’Newspapers’ as a source of information 

more frequently than men, while men turned to ’Magazines’ for arts information more 

often than women. 

 ̄	 White respondents receive arts information through the media (86%) more frequently 

than respondents who are African-American (77%), Hispanic/Latino (62%), and other 

races (66%). Conversely, African-Americans are significantly more likely to receive arts 

information by q’elevision’ or ’Radio’ than other racial groups.

 ̄	 African-American respondents reported "Friends/Relatives’ as a source of arts 

information twice as frequently as Whites (18% vs. 9%). 

 ̄	 Hispanic/Latino respondents listed ’Posters/Notices’ as a source of information about arts 

events more frequently than other races, although the small number of Hispanic/Latino 

respondents (275 across all sites) cause larger sampling error rates for this analysis. 

Education 

As education levels rise, so does usage of the media for arts information. Also, the most 

highly educated respondents (and also the most wealthy) are much more likely to get arts 

information from ’Mailings/Flyers’. 

 ̄	 Respondents with annual incomes less than $20,000 were far less likely to report 

’Newspapers’ as a source of arts information than respondents with incomes over 

$20,000. Conversely, those with lower incomes were more likely to report ’Television’ 

as a source of information. 

Marital Status 

 ̄ Aside from media sources, single respondents are more likely than married respondents 

to receive arts information by ~Word of Mouth’, whereas married and widowed 

respondents are more likely to get their information from ’Mailings/Flyers’. 

Each of the 12 local sites should examine the sources of arts information for their own 

respondents, although cross-tabulations by demographic characteristics will result in numbers 

too small to be meaningful. Of particular value to arts producers and presenters in each area 

will be the verbatim answers reported for the actual newspapers, radio and television stations 

listed by respondents. 

- 78 ­
12 Local Surveys of Arts Participation Summary Repor~ 

G. Reasons for Not Attending More Often 

Often referred to as "barriers to attendance", reasons for not attending more often were also 

queried in the 1982 and 1985 national SPPAs, but were dropped from the 1992 national 

survey. For each of the 12 Local Surveys, respondents were first asked whether or not they 

would like to attend cultural events more often. Those who answered "Yes" (an average of 

69%) were then asked to list the reasons why they don’t attend more frequently. Answers 

were coded into 17 different categories, ranging from ’Don’t have time’ to ’No one to go with’. 

Individual reasons were probed in some markets. Results are presented in Table 4(a) on the 

following page. 

Among those who would like to attend more often, 61% cited one reason - "Don’t Have 

Time" - overshadowing all other reasons by a factor of 3 for the combined data set. The next 

two most frequent reasons cited relate to cost - "Overall Cost of Going to Events" (20%), and 

"Cost of Tickets" (19%). All other reasons were cited by 10% or fewer of the respondents. 

These findings are generally consistent with results of the 1982 and 1985 SPPAs, although 

the samples were not designed to be comparable. Several interesting variations occurred 

between sites: 

’Not available/Not enough variety’ was a much more important reason for not attending 

for respondents located outside of large urban areas (i.e., Sedona, Winston-Salem, and 

the 3 Nevada sites). Generally, one would expect lower participation rates in areas where 

the supply of arts programming is limited, and this holds true for the 3 Nevada sites and 

to some extent for Winston-Salem. However, 22% of Sedona respondents, despite the 

area’s very high participation rates, still perceive availability of arts programming as a 

significant problem. 

’Cost of Tickets’ and ’Overall Cost of Going to Events’ are cited as barriers to attendance 

by Seattle respondents most frequently (26% cited each), compared to averages for all 12 

sites (19% and 20%, respectively). In contrast, only 9% of Rural Nevada respondents 

cited ’Cost of Tickets’ as a barrier. 

’Lack of Child Care/Baby-sitting’ was cited by Chicago respondents significantly more 

often (13%) compared to respondents in other urban areas (7% for Pittsburgh, 10% for 

Philadelphia). 

As would be expected, ’Distance/Travel Time/Inconvenient Location’ was a major issue 

for Rural Nevada respondents (19%), and also an issue for Sedona respondents (11%). 

Curiously, 10% of Chicago respondents who would like to attend more often also cited 

this as a reason, although this may be due in part to the extent of the geographic area 

surveyed, which included areas over 60 miles from downtown Chicago. 

’Problems Related to Age/Health’ were cited by 12% of Broward County respondents
 

who would like to attend more often, compared to a 6% average for all 12 sites.
 

Weighted age data shows that Broward County respondents have the highest average age
 

of the 12 sites (50).
 

’Transportation/Traffic/Parking Problems’ were most prevalent for Philadelphia
 

respondents (10%), but not for Chicago respondents (4%).
 

- 79 ­
 

 

12 Local Surveys of Arts Participation Summary Report 

REASONS CITED FOR NOT ATTENDING MORE OFrEN 

12 Local Surveys of Public Participation in the Arts 

...... OVeil~hted Percental~es) .. 

Table 4(a) 

Woutd Like to Anend Cuttural E~,ent~ More Often ?
 

Yes 66% 68%" ’71’%’ " 64% "73%’ 57% 74%’ 68% 68% 71% 70% 68% 69%
 

No 32% 31% 28% 35% 26% 38% 24% 29% 30% 28% 29% 31% 29%
 

Don’tKnow I 2% 1% 2% 1% 1% 4% 2% 3% 2% 1% 1% 1% 2%
 

~[ "YES" - Reasons for not attendins, mor~,o]~en; (multiple selections allow~d) , ,
 

Don’t have time 56% 57% 42% "61% "59% 57%’ 63%’ ’57%’ 52% ’63% 69% 61%
 I 64% 

Overall cost of soing to events l 18% 12% 14% 11% 16% !1% 26% 22% 21% 24% 10% 19% 20% 

Cost of tickets 121% 13% 20% 9% 15% 17% 26% 18% 20% 18% 15% 19% 19% 

Lack of child care/babysitting 7% 5% 6% 7% 7% 9% 13% 10% 7% 7% 10% 10% 

Lack of interest 4% 8% 8% 6% 10% 7% 7% 6% 8% 7% 7% 13% 7% 

Distance/travel time/inconvenient location 3% 3% 19% 11% 4% 5% 10% 7% 6% 2% 7% 7% 

Transportatiom~raffic/parking problems 7% 3% 6% 3% 2% 7% 4% 10% 7% 7% 4% 6% 

No one to go with 6% 3% 6% 7% 2% 5% 5% 8% 7% 6% 3% 2% 6% 

Problem related to age/health 5% 5% 5% 5% 4% 7% 5% 8% 6% 12% 7% 6% 

Just don’t get around to it 4% 3% 8% 6% 1% 6% 5% 6% 5% 3% 5% 4% 5% 

Other 4% 7% 6% 3% 1% 7% 5% 3% 4% 6% 5% 4% 

Not available/not enough variety ’ 4% 11% 18% 22% 22% 10% !% 2% 4% 8% 4% 3% 3% 

Problem related to handicap I% 3% 3% 3% 2% 2% I% 2% 1% 2% 2% 4% 2% 

Tickets sold out 1% 0% 0% 0% !% 1% 2% 2% 0% 9% 1% 

1% I% 0% 2% 2% 0% 3% 0% 1% Crime~fear of crime
 

Don’t know 1% 2% 1% 3% 0% 1% 2% 1% 0% 1% 1% 1%
 

Poor quality of performance 0% 2% 1% 1% 1% 1% 1% 0% 0% 1% 1% 0% 0%
 

Prefer to watch TV i 1% 1% 1% 0% I% 0% 0% 3% 0%
 

Refused 1% 1% 0%
 t. 

HOW TO READ THIS TABLE: Of all Broward County respondents who would like to attend arts events more often, 12% cited ’Problems related to Age/Health’ 

as a reason for not attendin8 more often. 

- 80 ­
12 Local Surveys of Arts Participation Summary Report 

Primary. Reason for Not Attending More Often 

Additionally, all respondents were asked to identify the single or "primary" reason for not 

attending cultural events more often. The resulting data are presented in Table 4(b) in the 

appendix. A different picture emerged when respondents were forced to choose the single 

most important reason for not attending more often. For the purposes of analysis, answers 

were categorized into five sub-groups as follows: 

CATEGORY	 REASONS 

Personal Barriers	 Lack of Interest, Don’t Have Time, Prefer to Watch 

TV, Just Don’t Get Around to It, Don’t Know 

(These responses show that the respondent is not 

really interested in attending more arts events than 

s/he already does.) 

Price Factors	 Cost of Tickets, Overall Cost of Going to Events 

Social/Physical Barriers	 Lack of Child Care/Baby-sitting, No One to Go 

With, Problem Related to Handicap, Problem 

Related to Age/Health 

Locational Issues	 Transportation/Traffic/Parking Problems, 

Distance/Travel Time/Inconvenient Location, 

Crime/Fear of Crime 

Quality/Availability	 Tickets Sold Out, Poor Quality of Performance, Not 

Available/Not Enough Variety 

Some of the observations noted above still come through in this analysis, but some factors 

become less important while new ones surface. 

 ̄	 When forced to identify the single most important reason for not attending more often, 

Price factors remain important for Seattle respondents, but also become more prominent 

reasons for Philadelphia respondents. 

Concern about child care/baby-sitting all but disappears for Chicago respondents. 

’Crime/Fear of Crime’ emerges as the most important issue for 11% of Dade County 

respondents and for 7% of Broward County respondents; in other sites, safety appears to 

be less of an issue. 

Distance and availability overshadow all other reasons for not attending for over half of 

all Rural Nevada respondents. Only for the 3 Nevada sites is ’Not Available/Not Enough 

Variety’ perceived to be the primary barrier to attendance for a significant number of 

respondents. These issues shrink in importance for Sedona and Winston-Salem 

respondents. 

 ̄	 Social/physical barriers (especially ’No One to Go With’) come forward as important 

reason~ for not attending for Pittsburgh and San Jose/Santa Clara County respondents, in 

-81 ­
12 Local Surveys of Arts Participation	 Summary Report 

contrast to all other 10 sites. According to lifestyle data, these two areas have a high 

proportion of single households. 

Personal barriers (reasons that are within the control of the individual) are cited as the 

most important reasons for not attending more often by an average of 44% of all 

respondents. Thus, a majority of respondents (56%) reported that external or 

environmental factors which are beyond their control (i.e., cost, traffic, etc.) are the most 

important reasons for not attending more often. 

Further Explanation of Barriers for Demographic Sub-Groups 

Further analysis of these data shows some interesting differences between demographic subgroups. From Table 4(c) in the appendix, it is observed that: 

 ̄	 Older respondents (60+) were less likely to cite personal barriers for not attending more 

often (e.g., ’Don’t Have Time’ was less of an issue) but they were more likely to cite 

social/physical barriers and locational Issues. 

 ̄	 Younger respondents (18 to 29) were less concerned with price factors than respondents 

in other age groups. 

Men were more likely to cite personal barriers than women, whereas women expressed 

greater concern over social/physical barriers and price factors. 

African-American respondents tended to cite more problems related to locational issues. 

Hispanics cited availability/quality reasons for not attending almost twice as frequently 

as African-Americans and Whites. 

Locational Issues appear to be more of a perceived problem for respondents with lower 

education levels, whether located in rural or large metropolitan areas. 

As would be expected, cost-consciousness decreases as income levels rise, and unmarried 

respondents cite fewer social/physical barriers to increased attendance (i.e., lack of child 

care/baby-sitting, etc.). 

By studying these data, local sponsors may gain insight into the unique challenges facing 

their area with respect to barriers to increased attendance. 

Other Topics 

Data from the 12 Local Surveys are available for supplemental analysis2. Other topics which merit 

further analysis include live vs. media arts participation, sources of information about arts events, and 

attitudes about arts participation. The survey data will continue to yield additional value from the 

focused study of these and other topics. 

2Inquiries should be directed to the Research Office, National Endowment for the Arts, 1100 Pennsylvania 

Ave. NW, Washington DC, 20506. 

- 82 ­
12 Local Surveys of Arts Participation Summary Report 

IV. METHODOLOGY 

At Survey Research Methodology 

Commissioned by the National Endowment for the Arts in collaboration with local cosponsors, the 12 Local Surveys of Public Participation in the Arts were conducted by Abt 

Associates, of Cambridge, MA, over a three month period from February 12 to May 15, 

1992. The surveys were intended to augment the national survey of participation in the arts 

(SPPA) conducted by the Bureau of the Census throughout 1992, and to provide the twelve 

participating communities with research data to meet their specific needs. 

Each survey was designed to include three components: 

The "Core Questionnaire" duplicated key questions from the 1992 national survey. 

These questions pertained to participation rates in the performing and visual arts, 

literature, and several other disciplines, as well as arts participation through the 

media. Additional questions (not on the national survey) asked participators to 

indicate the frequency of attendance over the past 12 months, and in what type of 

venue they had most recently attended. 

"Community-Specific Local Modules" were developed in conjunction with Abt 

Associates to address the specific information needs of the local sponsors. 

Questions pertaining to "reasons for not attending more often" and "sources of 

information about the arts" were common across all sites, in addition to a series of 

questions unique to each survey. 

o Basic Demographic Information was collected for all respondents. This included 

race/ethnicity, age, gender, education, household income, and marital status. 

The scope of this summary report is limited to questions common to all 12 surveys, 

including participation rates, frequency of participation, venue types attended, sources of 

information about arts events, interest in attending more often, reasons for not attending 

more frequently, attitudes about arts participation, and demographic characteristics of 

respondents. 

Further discussion of survey design issues, including differences between the local 

questionnaires and the national SPPA’s, may be found in the report appendix. 

Sampling Methodology and Response Rates 

Using list-assisted random digit dialing telephone survey approach, households were sampled 

in each of the sites until the goal of approximately 400 interviews was achieved (600 in the 

Philadelphia metropolitan area), for a total of approximately 5,000 respondents. A stratified 

sampling approach was taken for several of the sites. For example, respondents for the 

Pittsburgh/Allegheny County site were drawn equally from within the City limits of 

Pittsburgh and from the remainder of Allegheny County, so that participation in the two 

areas could be compared. In Dade County, telephone exchanges with a high percent minority 

population were over-sampled to facilitate analysis between minority and non-minority 

- 83 ­
12 Local Surveys of Arts Participation Summary Report 

participation. Similarly, for the Philadelphia site, an additional 200 interviews were 

completed in areas of the city with high percent minority populations. Spanish-speaking 

interviewers were used, as needed, to conduct interviews for three sites; Dare County, 

Broward County, and San Jose/Santa Clara County. 

For each household sampled, the person over 18 who had the most recent birthday was the 

eligible respondent. A maximum of 6 attempts were made to obtain an answered call for 

each residential number dialed. 

The majority of interviews were conducted during the early evening in the respondent’s local 

time zone or on the weekend. Callbacks were scheduled as needed when the eligible 

respondent was unavailable during the initial attempt. The interviewer introduced 

him/herself as "calling for the local sponsor about a study of local participation in the arts." 

Interviewers used Computer Assisted Telephone Interviewing (CATI) to collect data and 

guide them through the survey instrument. Response rates, according to Abt Associates, are 

reported in the following table (sorted from highest to lowest). 

"  ̄ SITE Response 

 ̄ ! Rate 

Rural Nevada 52% 

Reno 

Pittsburgh 

Sedona 

Winston-Salem 

Philadelphia 

Seattle/King County 43% . 

San Jose ..... 43%  ̄ 

Las Vegas 42% " 

Chicago 42% .... 

Broward County 

Dade County 

On average, the survey took 17 minutes to administer. 

Typically, data are weighted to correct for a disproportionate sampling distribution. Abt 

Associates applied two weighting procedures to the sample data for each site. First, each 

respondent’s data was assigned a weight equal to the number of adults (18+) in the 

household. Thus, if the respondent lived in a household with 2 other adults (parents or 

grandparents, for example), a weighting factor of 3 was applied. This procedure corrects for 

the unequal selection probabilities introduced by selecting one adult from each household, 

according to Abt Associates. 

Second, a post-stratification adjustment was made to the weight described above, to bring the 

weighted sample distribution into closer agreement with the actual distribution of four 

demographic variables within each site: age, race, gender, and household income. This 

procedure was intended to reduce the potential for bias arising from non-response, and also 

to adjust the sample for non-coverage of households without telephones. For Dare County, 
12 Local Surveys of Arts Participation Summary Reporl 

Allegheny County, and the Philadelphia MSA, the post-stratification adjustment was carried 

out for each subarea before they were combined. 

These weighting procedures were primarily intended to improve the reliability of survey 

results for local users. Weighted percentages are used in the tables throughout this report. 

The survey percentages used throughout this report are subject to sampling variability, 

because they were derived through sampling techniques and not through a census of the 

entire area. Therefore, a standard error must be calculated to define the area surrounding 

each survey percentage in which the actual "true but unknown" value lies, at a certain level of 

confidence. 

Two different types of error rates apply to different analyses of the data. Comparison of rates 

within a site (for example, jazz participation rates for Dade County by race) requires that 

standard error rates be calculated based on the unweighted sample size for that site (usually 

about 400, but 600 for Philadelphia). For a sample size of 400, at the 95% confidence level, 

error rates will range from about 2% to 5%, depending on the survey percentage in question. 

Different standard error rates apply when evaluating the statistical significance of survey 

percentages across multiple sites. For instance, to see if classical music participation rates 

are different between Las Vegas and Rent (and other sites), confidence limits must be 

calculated based on the entire sample size for all 12 sites for the variable in question. Unlike 

the "Single-Site" error rates, these rates allow us to determine whether survey percentages 

between sites are significantly different. For each of the common variables on all 12 surveys, 

a standard error was calculated on the total number of respondents answering each question, 

at the 95% confidence level. Standard error figures for the various participation rates ranged 

from .67% to 1.38%. 

Consult the report appendix for Standard Error Tables and further discussion ,of these error 

rates. 

no Methodology for Research on Local "Supply" of Arts Facilities and Programs 

AMS staff contacted each local sponsor to determine the extent of existing information 

regarding cultural facilities and programs. In some cases, sponsors were able to provide 

complete information on numbers of performances, cultural attractions, and types of 

performance venues (with seating capacities) from existing directories, periodic cultural 

calendars and/or annual reports. In other locations, site sponsors indicated that no data 

existed and suggested alternate approaches for gathering "arts supply" data. One local 

sponsor held a staff meeting to collect information from all relevant staff. A combination of 

approaches was utilized to obtain data as required, including phone calls to secondary 

contacts (arts service organizations, city and state arts councils, etc.). 

Secondary sources of local arts activity data included national and regional performing arts 

facility and museum directories, and a variety of other publications obtained by the 

researchers. In several cases, a great deal of difficulty was encountered in collecting data on 

any systematic basis. Thus, the amount and quality of local arts activity data varies from site 

to site. Appropriate qualifications regarding local arts activity data are included in each site 

discussion. 

- 85 ­
12 Local Surveys of Arts Participation Summary Report 

A lack of compiled data on arts activity levels was a problem for some sites. Only two local 

sponsors had this information easily at hand, and another three were able to compile arts 

activity data from a variety of existing sources. In all cases, arts activity levels are estimated. 

For several sites, where activity levels were too difficult to ascertain, qualitative data and 

anecdotal narrative were used to describe the local arts environment. Future research of a 

similar nature would benefit from a planned data collection phase at the local level, over a 

period of time coinciding with the survey time frame. 

Co Summary of Methodologies for 1982, 1985 and 1992 SPPA’s 

National surveys of public participation in the arts (SPPA’s) were conducted in 1982, 1985, 

and 1992 by the U.S. Census Bureau for the National Endowment for the Arts. Results from 

these research efforts can be projected to the U.S. population, and provide valuable 

information on arts participation and related topics. Since data from the 12 Local SPPA’s 

were to complement and add context to the national surveys, it is necessary to understand 

what methodologies were used for the national surveys, and to recognize any relevant 

methodological differences between the 12 Local Surveys and the three national surveys. 

Summaries of the methodologies of the national studies are provided below. With respect to 

both survey design and sampling methodology, these research efforts were handled 

somewhat differently. 

The 1982 Survey of Public Participation in the Arts, conducted by the U.S. Census Bureau, 

involved a sample of 17,254 individuals, interviewed mostly in person (about 75%), with the 

remainder surveyed by telephone. Census Bureau population counts were used to draw up 

the sample in such a way that all individuals living in households in the United States had an 

equal chance of selection. All individuals aged 18 and over in the selected households were 

eligible to be included in the survey. Fewer than 15% of eligible respondents were not 

interviewed, and the final data were slightly weighted to reflect age, gender, and race of the 

1982 U.S. population. 

The SPPA questions immediately followed a crime survey, which was part of an on-going 

panel study of 72,000 households conducted by the Bureau of the Census. Each month, from 

January through December 1982, a national cross section of 1,450 respondents was surveyed 

on arts participation. From January through October, the five- minute interview covered a 

set a of "core questions" about arts participation in the previous 12 months, plus a set of 

"rotating" questions about arts socialization, mass media usage, musical preferences, etc. 

The November and December interviews lasted 20 minutes and asked all of the rotating 

questions. 

The survey methodology for the 1985 SPPA was quite similar to that of 1982. Once again, 

the SPPA questions were incorporated in the Census Bureau’s omnibus panel study for a 

randomly selected subset of households. Similarly, approximately 75% of interviews were 

conducted face-to-face in the respondents’ homes, and less than 15 percent of eligible 

individuals could not be interviewed. The primary difference between the 1982 and 1985 

SPPA’s was that the 1985 survey was conducted only over a six month period (from January 

- 86 ­
12 Local Surveys of Arts Participation Summary Report 

through June 1985), and all were five-minute interviews. Since no respondents were asked 

all sets of rotating questions (as in Nov. and Dec. 1982), inter-module analyses could not be 

conducted with the 1985 data. 

Thus, the sample size per month in 1985 was larger - 2,200 households, or one fourth of all 

households included in the omnibus survey. The total 1985 SPPA sample size was 13,675, 

compared to 17,254 for 1982. 

Results of the 1982 and 1985 SPPA’s were analyzed by the University of Maryland’s Survey 

Research Center, under the direction of John P. Robinson, Ph.D, and published in October 

1985 and March 1987, respectively. The March 1987 report included two volumes. Volume 

I comprised a project report on the 1985 SPPA, while Volume II compared 1982 and 1985 

data. Participation rates from these studies are reproduced in this report (e.g. Table 1). 

Numerous additional analyses of the 1982 and 1985 SPPA data were commissioned by the 

NEA Research Division, a listing of which may be found in the bibliography to this report. 

As with the earlier SPPA’s, respondents to the 1992 SPPA were part of a larger, continuously 

rotating panel of respondents who were interviewed every six months over a three year 

period. Sample selection was similar to the two previous SPPA’s - Census Bureau 

population counts were used to draw the sample in such a way that all individuals living in 

households in the United States had an equal chance of selection. All adults aged 18 and 

over were eligible to be interviewed. 

About 80% of the interviews were conducted by telephone, in contrast to the 1982 and 1985 

SPPA’s, which were conducted primarily in-person. (The Census Bureau states that no 

effective differences have generally been found between in-home interviews and telephone 

interviews.) During the first six months of 1992, only core participation questions were 

asked of each respondent, and the interviews lasted approximately eight minutes. Data from 

a total of 6,947 interviews comprise the sample from the first six months. During the last six 

months of 1992, additional questions were asked of all respondents, resulting in an average 

interview time of about 16 minutes. Sample size for the last six months of data collection 

was not available for this report, but it is anticipated that it will be approximately 6,000. 

Approximately 20% of all eligible adults in the sampled households could not be 

interviewed, slightly more than in 1982 and 1985. Again, the final data were weighted 

slightly to ensure that the final sample was completely representative of the 1992 U.S. 

population in terms of age, race and gender. 

D. Methodological Comparisons and Possible Sources of Bias 

Compared to the 1982 and 1985 SPPA’s, significantly higher participation rates were 

observed in the 12 Local Studies. Data from the 1992 SPPA (which was not available for 

this report) will uncover any changes in arts participation levels since 1985 on a national 

basis. It is possible that actual participation rates may have increased over the past seven 

years. Further, arts participation rates can be expected to vary from site to site, with higher 

rates expected in large urban areas where the supply of arts activity is greatest. The 12 sites 

studied were predominantly urban, and this might explain some of the upward variance in 

participation rates. 

- 87 ­
12 Local Surveys of Arts Participation Summary Report 

However, the amount and consistency of upward variance clearly suggests that 

methodological differences account for at least some of this variance. Several 

methodological differences are summarized below, and are discussed further in the report 

appendix. 

1. Sponsorship/Survey Context 

The 12 Local Surveys and the National SPPA’s were presented to eligible 

respondents in a significantly different manner. The National SPPA’s immediately 

followed surveys on crime, an issue that affects everyone to some degree. This may 

have served as an incentive to participate in the survey, attracting a very 

heterogeneous group of people as far as arts participation is concerned. On the other 

hand, the 12 Local Surveys were introduced as studies of local participation in the 

arts, creating an opportunity for ’self-selection’ in or out of the survey based on the 

respondent’s interest in the arts.1 Fundamentally, respondents to the national SPPA’s 

had already completed an unrelated (crime) survey, while respondents to the 12 

Local Studies were recruited to complete a local survey of arts participation. 

2. Telephone vs. Face-To-FaCe Interviews 

Although tests have shown that the quality of respondents’ answers does not vary 

significantly between telephone and in-person interviews, it is much easier for 

respondents to terminate a telephone interview. Response rates for the 12 Local 

Surveys ranged from 40% to 52%, indicating that up to 1,000 households were 

contacted in some markets to achieve 400 completed interviews. (These response 

rates are typical of telephone surveys of this type, although response rates of 55% or 

higher are common.) In contrast, completion rates for the National SPPA’s ranged 

from 80% to 85%.2 Telephone sampling also introduces the possibility of nonresponse bias resulting from the inability to sample households without telephones, 

although weighting procedures are supposed to correct for this. 

3. Respondent Eligibility 

For the National SPPA’s, all adults (18+) in the sampled households were eligible 

respondents, in contrast to the 12 Local Surveys, for which the one adult (18+) in the 

household with the most recent birthday was the eligible respondent. Although this 

procedure is methodologically sound, it creates another opportunity for disinterested 

but eligible respondents to select themselves out of the sample (i.e., to terminate the 

call). 

1Recognizing potential problems associated with the introductory language in the telephone script, Abt 

Associates tested an alternative introduction in one of the local areas to see if results would be different. 

Response rates were not observed to be significantly different, and the telephone script was not changed. 

2Even though the 1992 National SPPA was conducted primarily by telephone, respondent households had 

been contacted previously by the Census Bureau about participating in an on-going panel study. These 

respondents were far more likely to complete the SPPA than if they had been contacted through random-digit 

dialing. 

- 88 ­
12 Local Surveys of Arts Participation Summary Report 

4. Out-of-Town Arts Participation 

None of the arts participation surveys, either local or national, ask respondents to 

distinguish between local and out-of-town arts participation. This distinction is 

unnecessary with the national surveys because results are generalized to the U.S. 

population. However, out-of-town arts participation may have skewed rates higher 

in several of the 12 local sites because of two factors. First, several of the local sites 

are near other cities with high levels of arts activity. (For example, Sedona, AZ 

residents commonly drive to Flagstaff for arts presentations.) Secondly, several of 

the sampled areas (i.e., Broward and Dade Counties) are populated by seasonal 

residents who may also attend arts events in another area. 

5. Language Barrier 

For the 12 Local Surveys, an unknown number of calls were terminated immediately 

due to a language barrier [figures not released by Abt Associates], although some 

interviews were conducted in Spanish for the Dade, Broward, and San Jose sites. 

Participation rates in the European-based arts disciplines are generally lower among 

non-English speaking immigrant groups, for cultural and socioeconomic reasons. 

6. Sampling Periods vs. Seasonality of Arts Activity 

The 1982 and 1992 SPPA’s were conducted over a calendar year, with an even 

distribution of interviews each month, while the 1985 SPPA involved data collection 

only during the first six months of 1985 (January - June), which includes months of 

both high and low arts activity. (Arts programming drops off sharply during the 

summer months, particularly with respect to traditional programming.) The 12 Local 

Surveys were conducted during one of the most active 3-month periods for arts 

programming - mid-February through mid-May. Recent attendance may be more 

easily recalled by respondents, raising the possibility of higher participation rates for 

respondents interviewed during the performing arts season. 

Generally, the methodology used for the 12 Local Surveys resulted in a more homogeneous 

group of respondents in comparison to the national samples. While the demographic 

characteristics of the 1982 and 1985 SPPA samples are almost identical and closely follow 

U.S. averages, demographics for the 12 Local Studies sample (5,040 respondents) are 

consistently higher.3 

For example, with respect to education levels, the percentages of local respondents who 

completed college exceed the actual figures for the base population of the geographies 

surveyed by anywhere from 6% to 20%. Table 8, in the appendix, presents education data 

for each of the 12 sites. Since higher education levels are closely associated with arts 

attendance, this analysis leads to the conclusion that respondents to the 12 Local Surveys are 

more likely than average to be arts attenders. 

3Aggregated sample data for the 12 Local Surveys cannot be compared to data from a random sample of the 

United States. In fact, the actual demographic charactersfics of the 12 sites combined (using 1990 census 

data) are somewhat "higher" than figures for the U.S. as a whole. Even accounting for the higher base area 

demographics, sample demographics are still substantially higher - even using weighted percentages. 

- 89 ­
12 Local Surveys of Arts Participation	 Summary Report 

Highest Education Level Achieved 

(Excerpt from Table 8) 

Bachelor’s
 

PITrSBURGH/ High School Degree or
 

ALLEGHENY COUNTY or lower Some College Higher
 

Unweighted Sample Data 42% 24% 33%
 

1990 Census Data 57% 21% 23%
 

Variance	 -15% +3% +10% 

Another possible explanation of the variation between local and national participation rates 

would be the larger sampling error rates associated with smaller sample sizes. If this were 

true, both positive and negative variation would occur. However, the consistency and 

magnitude of higher participation rates for the 12 local sites suggest that at least some of this 

variation is not random. 

E. Uses of the Data 

Results from the 12 Local Surveys are a valuable resource of information for the arts field in 

general, and particularly for the local sponsors. Given the various limitations of the data 

discussed in this section, appropriate uses of the survey results include: 

 ̄	 Study of the relationship between the supply of cultural activity and participation rates 

within a given geography; 

 ̄	 Comparison of participation rates, frequency of participation, and other results between 

the 12 sites studied; 

 ̄	 Cross-tabulations of data within a site, so long as the sample size of sub-groups is large 

enough to allow for reasonable error rates. Such analyses might include: 

- demographic characteristics of sub-groups (e.g., jazz participation by race, etc.) 

- cross-discipline participation rates 

- utilization of venues by discipline, or by demographic characteristics 

- source of arts information by demographic characteristics 

- reasons for not attending by demographic characteristics 

- frequency of participation by demographic characteristics 

- attitudes about arts participation by demographic characteristics 

In addition, each survey contained a variety of site-specific questions (including questions for 

which verbatim answers were recorded), which deserve thorough analysis. 

- 90­
12 Local Surveys of Arts Participation Summary Report 

APPENDIX
 

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12 Local Surveys of Arts Participation Summary Report 

A. Directory of Data Tables 

Data files are available for further analysis. Inquiries should be directed to the Research 

Office, National Endowment for the Arts, 1100 Pennsylvania Ave. NW, Washington DC, 

20506. 

TABLE # 

Table 1: 

Table l(a): 

Table l(b): 

Table l(c): 

Table 2: 

Table 3(a): 

Table 3(b): 

Table 3(c): 

Table 4(a): 

Table 4(b): 

Table 4(c): 

Table 5: 

Table 6(a): 

Table 6(b): 

Table 7(a): 

Table 7(b): 

Table 8: 

Table 9: 

Table 9(a) 

Table 10: 

Table 11: 

DE$CRIPTIQN 

All participation rates for each of the 12 sites, plus applicable figures for 

1982 & 1985 SPPA’s. 

Arts participation rates for demographic sub-groups, core disciplines 

Arts participation rates for demographic sub-groups, literature 

Arts participation rates for demographic sub-groups, media 

Interest in attending more often, for each of the 12 sites 

Venues types attended - by site, for all disciplines 

Venues types attended - by discipline, for 12 sites combined 

Venue types attended by demographic characteristics 

Reasons for not attending more often, total percentages by site 

Primary reason for not attending more often, percentages by site 

Primary reason for not attending more often, for demographic sub-groups 

Attitudes about arts participation, by site 

 ̄ Sources of information on arts events, by site 

Sources of arts information by demographic characteristics 

Unweighted sample demographics, by site (raw data) 

Weighted sample demographics, by site 

Education levels: sample data vs. 1990 census 

Mean frequency of participation, by site 

Frequency of participation by demographic characteristics 

Number of disciplines attended by demographic characteristics 

Cross-discipline participation rates (see Special Topics section) 

- 92 ­
ARTS PARTICIPATION RATES BY SITE 

12 Local Surveys of Public Participation in the Arts 

(Weighted PercentagesI 

Table 1 

CORE DISCIPLINES 

Jazz 14% 15% 10% 7% 19% 13% 16% 16% 12% 20% 14% 19% 15% 10% 10% 

Classical Music 20% 9% 18% 10% 17% 19% 20% 20% 19% 23% 12% 21% 20% 13% 13% 

Opera 5% 3% 9% 2% 4% 4% 7% 5% 7% 12% 7% 8% 6% 3% 3% 

Musicals 25% 20% 19% 12% 24% 17% 26% 32% 24% 34% 20% 30% 27% 19% 17% 

Plays 18% 16% 15% 12% 25% 22% 29% 21% 18% 21% 15% 21% 20% 12% 12% 

Ballet 7% 7% 7% 8% 3% 7% 13% 5% 5% 13% 10% 9% 7% 4% 4% 

Other Dance 8% 11% 12% 10% 13% 9% 13% 10% 11% 9% 12% 9% 10% N/A N/A 

Art Museum/Galler~ 38% 39% 41% 39% 77% 32% 52% 42% 44% 41% 35% 44% 42% 22% 22% 

Any of 7 Performing Arts Disciplines 46% 46% 43% 33% 54% 42% 55% 54% 52% 57% 43% 56% 52% N/A N/A 

An)~ of 8 "Core" Disciplines 57% 59% 56% 52% 82% 50% 69% 63% 63% 65% 52% 67% 62% N/A N/A 

OTHER DISCIPHNES 

Arts/Crafts Fair/Festival 55% 50% 62% 56% 57% 45% 55% 49% 42% 61% 45% 54% 49% 39% 40% 

Attend Movie Theater 72% 67% 68% 63% 84% 65% 78% 77% 70% 75% 63% 78% 73% 63% 59% 

Historic Park/Monument 41% 36% 50% 42% 60% 46% 44% 44% 47% 40% 41% 51% 44% 37% 36% 

LITERATURE 

R~ad Books for Pleasure 60% ’71% 76% 74% 82% 69% 82% ~5% 75% 75% 62% 74% 73~ N/A N/A 

Read Plays 8% 4% 9% 6% 9% 7% 9% 7% 9% 5% 9% 10% 8% N/A N/A 

Read Poetr~ 25% 33% 35% 32% 42% 32% 33% 29% 28% 27% 31% 29% ~ 29% N/A N/A 

Read Novels/Short Stories 59% 65% 73% 66% 70% 60% 71% 64% 64% 68% 56% 70% 64% N/A N/A 

Read Plays or Poetr~ or Novels 63% 69% 76% 71% 74% 66% 75% 69% 68% 71% 63% 72% 69% 56% 56% 

Attend Poea’y Readin[gs 7% 13% 14% 20% 22% 13% 16% 15% 14% 17% 21% 20% 15% N/A N/A 

Attend Readings of Novels/Books 8% 9% 13% 12% 20% 15% 18% 13% 11% 13% 16% 16% 13% N/A N/A 

TELEVISION/VIDEO 

Jazz 31% 37% 35% 27%" 29% 30% 40% 37% 34% ’ 36% 38% 36% 36% 18% 17% 

Classical Music 30% 33% 43% 32% 40% 36% 38% 46% 50% 45% 45% 36% 44% 25% 24% 

16% 16% 20% 13% 17% 16% 21% 24% 22% 28% 31% 23% 23% 12% 12% 

MusicaLs 22% 25% 28% 20% 33% 26% 26% 30% 29% 30% 33% 29% 29% 20% 18% 

Plays 22% 21% 25% 19% 34% 22% 26% 30% 26% 28% 28% 29% 27% 26% 21% 

Any Dance 31% 32% 37% 32% 41% 32% 36% 36% 36% 35% 39% 34% 36% N/A N/A 

Artists/Art/Art Museums 34% 36% 46% 41% 61% 40% 53% 45% 44% 35% 43% 37% 43% 23% 25% 

Any T~ F.xposure 65% 69% 77% 67% 82% 67% 78% 75% 80% 74% 77% 74% 75% N/A N/A 

RADIO OR RECORDINGS 

Jazz 40% 50% 46% 36% 52% 43% 58% 56% 48% 51% 44% 57% 51% N/A N/A 

Classical Music 52% 54% 61% 51% 70% 58% 65% 64% 60% 59% 61% 65% 61% N/A N/A 

24% 18% 22% 14% 21% 21% 28% 30% 28% 31% 29% 27% 28% N/A N/A 

Musicals 20% 16% 16% 16% 22% 14% 21% 25% 23% 23% 23% 24% 23% NIA NIA 

Plays 6% 7% 8% 7% 13% 11% 10% 12% 10% 12% 11% 8% 10% N/A N/A 

An? Radio/Recordings 67% 74% 74% 62% 82% 70% 78% 83% 73% 75% 70% 81% 77% N/A N/A 

HOW TO READ THIS TABLE: 25% of Sedona respondents reported attending at least one non-musical stage play during the 12 months prior to being interviewed. 

NOTE: Participation rates from the 1982 and 1985 SPPAs are included in this table for context only, and are not directly comparable to other rates in this table. 

NOTE: Italicized figures were computed from existing data. 

NOTE: N/A = Not Available 
ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS 

12 Local Surveys of Public Participation in the Arts 

(Wei/ghted Percentat~es for 12 Sites Combined) 

Performing Arts Disciplines 

Table l (a) 

~AGE 

18 to29 19% 10% 4% 27% 19% 7% 11% 48% 43% 42% 

30 to 39 16% 17% 4% 25% 16% 7% 8% 43% 53% 50% 

40 to 59 16% 23% 8% 29% 24% 8% 11% 44% 55% 49% 

Over 60 9% 24% 8% 28% 18% 7% 13% 34% 45% 36% 

GENDER 

:Male 17% 18% 7% 25% 19°k 6% 10% 44% 44% 45% 

Female 14% 20% 6% 29% 21~k 8% 10% 41% 54% 44% 

RACE 

White 15% 22% 8% 30% 21% 8% 10% 45% 56% 48% 

i Black 19% 13% 2% 24% 16% 3% 9% 32% 30% 30% 

IHispanic 13% 6% 16% 9% 4% 10% 41% 33% 31% 

Other 10% 10% 4% 15% 19% 4% 14% 32% 30% 41% 

EDUCATION 

High School or Lower 9% 8% 4% 19% 10% 3% 6% 27% 35% 31% 

Some College 17% 19% 3% 24% 19% 8% 9% 40% 56% 48% 

Bachelor’s De~,ree or Hi~her 21% 31% 12% 40% 32% 11% 16% 62% 61% 56% 

INCOME 

Less than $20,000 10% 13% 4% 16% 11% 2% 8% 27% 30% 29% 

$20,000-$49,999 15% 15% 5% 26% 17% 5% 10% 42% 52% 47% 

$50,000-$99,999 22% 27% 8% 36% 31% 11% 14% 57% 62% 54% 

$100,000 or More 25% 34% 17% 48% 39% 14% 14% 71% 66% 64% 

MARITAL STATUS 

Married 15% 23% 31% 20% 8% 11% 44% 56% 47% 

Widowed 8% 15% 6% 28% 20% 6% 7% 29% 39% 38% 

Separated 15% 9% 16% 19% 14% 3% 13% 33% 17% 25% 

Divorced 15% 14% 7% 18% 21% 5% 7% 35% 48% 43% 

Never Married 18% 14% 5% 24% 19% 6% 12% 47% 40% 42% 

HOW TO READ THIS TABLE: Among all Hispanic respondents in the combined sample, 16% reported attending at least one 

live musical stage play during the 12 months prior to being interviewed. 
ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS
 

............. : 12 Local Surveys of Public Participation inthe Arts 

(Weighted Percentages for 12 Sites Combined) 

Literature Participation Rates 

Table l (b)
 

4GE 

18 to29 

30 to 39 

40 to 59 

Over 60 

GENDER 

Male 

Female 

~CE 

White 

Black 

Hispanic 

Other 

EDUCATION 

High School or Lower 

Some College 

Bachelor’s Degree or Higher 

INCOME 

Less than $20,000 

$20,000-$49,999 

$50,000-$99,999 

$100,000 or More 

MARITAL S TA TUS 

Married 

Widowed 

Separated 

Divorced 

Never Married 

70% 

76% 

75% 

69% 

70% 

75% 

74% 

72% 

64% 

63% 

63% 

74% 

84% 

65% 

75% 

83% 

88% 

75% 

65% 

67% 

71% 

72% 

14% 29% 65% 13% 11% 91% 

5% 30% 60% 16% 13% 79% 

6% 30% 66% 19% 16% 68% 

6% 29% 63% 14% 11% 52% 

7% "23% 57% 15% 13% ’ 76% 

8% 35% 70% 15% 12% 71% 

8% 29% 66% 13% 13% 76% 

8% 32% 58% 22% 13% 63% 

10% 25% 55% 21% 13% 72% 

6% 28% 58% 22% 12% 64% 

: .... 

6% 20% 52% 12% 8%. 63% 

8% 34% 66% 14% 12% 76% 

9% 36% 76% 20% 18% 82% 

9% 28% 54% 18% 8%, 58% 

7% 29% 68% 13% 12% 77% 

7% 29% 72% 15% 15% 83% 

9% 28% 74% 18% 19% 90% 

5% 28% 66% 15% 15% 73% 

5% 31% 59% 16% 9% 45% 

5% 18% 59% 22% 7%. 50% 

7% 35% 57% 14% 11% 69% 

16% 30% 64% 16% 11% 85% 

HOW TO READ THIS TABLE: Among all respondents in the combined sample who reported annual 

incomes over $100,000, 90% reported attending the cinema at least once during the 12 months prior 

to being interviewed. 
 

 

 

ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS 

12 Local Surveys of Public Participation in the Arts 

(Weighted Percentages for 12 Sites Combined) 

Television/Video ~] Radio/Recordings ~ Comparisons 

Table 1 (c) 

18 to 29 33% 28% 12% 21% 15% 29% 41% ~j~ 55% 49% 14% 14% ~ 8% ~
 67% 67% 72%

30 to 39 37% 34% 16% 24% 21% 29% 42% 58% 54% 16% 19% 5% 63% 69% 75%
 

40 to 59 39% 52% 28% 31% 35% 37% 46% 52% 70% 36% 29% 11% 62% 81% 80% i Over 60 34% 59% 34% 38% 36% 47% 44%~ 41% 70% 44% 30% 18% ~ 57% 80% 80% 

GENDER 

Male 40% 43% 21% 27% 26% 30% 44% ~ 55% 63% 27% 20% ’ 10% ~-,, 64% 75% 78% 

Female 32% 44% 25% ’ 30% 28% 41% 42% 1~ 48% 60% 29% 26% ~11% 60% 75% 76% 

White 31% 46°/o 23% 31% 29% 35°/o 45%N 45%0 64°/o 30% 27% 10%o ~ 65% 75%0 77% 

Black 55% 38%0 18% 19% 20°/o 43% 35%~ 71% 48% 19% 12%; 11% ~,~ 55% 76% 81% 

Hispanic 43% 29°/o 18% 29°/o 20% 38% 38% 51% 55°/o 13% 19% I 12%~ 52°/o 77% 69% 

Other 47% 48°/o 38% 25% 30°/o 32% 45%~ 54% 63% 37% 13% ! 15% ~ 48% 78% 74% 

EDUCATION 

High School or Lower 33% 36% 20% 23% 20% 31% 35%1~ 42% 49% 24°/o 16% 9% ~ 47% 67% 66% 

Some College 37% 41% 24% 33% 30% 40% 45%~1~ 55% 62% 31% 25% i 11% ~ 62% 77% 80% 

Bachelor’s Desree or Higher 39°/o 55% 26% 31% 34% 38% 50% ~ 60% 75% 31% 31% i 11% ~ 80% 83% 87% 

INCOME 

Less than $20,000 

$20,000-$49,999 

$50,000-$99,999 

$100,000 or More 

MARITAL STATUS 

Marded 34% 44% 22% 29% 29% 36% 43% ~ 48% 63% 28% 26% i 9% [~ 64% 75% 78% 

Widowed 45% 64% 45% 38% 36% 52% 44% ~ 48% 69% 50% 28% ; 12%.~ 50% 86% 76% 

Separated 35% 38% 22% 26% 10% 30% 38% ! 53% 50% 24% 20% i 18% ~ 52% 66% 71% 

Divorced 39% 47% 25% 32% 33% 45% 44%~ 53% 62% 28% 21% 10% ~ 54% 76% 77% 

Never Married 37% 36% 17% 24% 22% 27% 42%~ 59% 56% 22% 17% 12%~ .... 66% 73% 76% 

HOW TO READ THIS TABLE: 80% of all respondents with a Bachelor’s degree reported attending at least one live performance, compared to 47% of 

all respondents whose education did not advance past a High School degree. 
INTEREST IN ATTENDING MORE OFTEN 

Surveys of Public PartiCipation in the Arts : 

Table 2 <

p~rcenrage Showing Any Interest in~2, (multiple select!ons al~d) 

Jazz 35% 43% 39% 33% 36% 37% 42% 42% 38% ’ 38%’ 36%" 42% 4’0% 

Classical Music 44% 41% 45% 36% 47% 44% 46% 50% 43% 42% 44% 43% 46% 

Opera 20% 18% 23% 17% 17% 17% 26% 29% 23% 28% 27% 23% 26% 

Musicals 59% 54% 53% 47% 60% 57% 59% 62% 64% 62% 54% 57% 61% 

Plays 56% 56% 53% 47% 63% 56% 63% 62% 53% 57% 53% 54% 57% 

Ballet 30% 37% 34% 34% 42% 32% 42% 39% 34% 38% 37% 35% 37% 

Other Dance 42% 50% 44% 47% 55% 44% 45% 50% 43% 46% 41% 43% 46% 

Art Museums 62% 72% 65% 65% 74% 61% 69% 75% 67% 67% 60% 68% 69% 

Don’t Know/None 10% 10% 9% 11% 4% 11% 9% 4% 7% 9% 10% 9% 7% 

Refused 2% 1% 0% 0% 0% 

Which [Type of Arts Eventl Woutd You Like to, Do More,, the,Most? ,,,~,,, , 

Jazz 15% 24% 16% 15% 15% 15% 17%’-- 17% 15%’ 11% 17% 19%’ 16%’ 

Classical Music 9% 11% 15% 10% 10% 15% 9% 10% 10% 11% 9% 11% 10% 

Opera 5% 3% 4% 6% 4% 2% 4% 6% 5% 4% 6% 6% 5% 

Musicals 24% 15% 14% 14% 17% 18% 24% 22% 28% 20% 17% 22% 23% 

Plays 12% 9% 11% 7% 9% 16% 16% 14% 9% 11% 13% 12% 12% 

Ballet 7% 8% 8% 6% 8% 8% 5% 4% 4% 4% 8% 5% 5% 

Other Dance 3% 4% 4% 4% 6% 4% 4% 5% 5% 4% 3% 4% 5% 

M-t Museums 21% 25% 25% 36% 27% 20% 19% 20% 22% 29% 24% 20% 22% 

Don’t Know/None 4% 2% 3% 2% 4% 1% 2% 1% 3% 7% 4% 1% 2% 

Refused 1% 0% 0% 

I 

Generall.y,. Would. Yo.u Like t.o Artend Arts.Events More ~, ten? ....... ....
 

Percent Answednig"YES" I 66% I 68% [ 70% I 64% I’ 73%"1 57% ] 74%t68% I 68% ] 71% [ 70% ] 68’% 69% 

HOW TO READ THIS TABLE: Three quarters of all Chicago area respondents expressed an interest in attending exhibits at art museums or 

art galleries more often. Over a third (36%) of Rural Nevada respondents cited ’Exhibits at art museums or art galleries’ as the single type of 

arts event that they would like to attend more often the most. 
 

VENUE TYPES ATTENDED BY SITE 

12 Local Surveys of Public Participation in the Arts
 

~qCeighted Pere~..ntage.S ,for 7. performance .Disciplines Combined)
 

Table 3(a) 

Concert Hall or Opera House 33% 11% 10% 7% 15% 19% 25% 17% 17% 15% 14% 23% 18% 

Civic Center 5% 6% 5% 25% 15% 13% 5% 3% 2% 11% 16% 12% 9% 

Theatre 37% 17% 39% 27% 22% 41% 42% 40% 39% 43% 40% 30% 35% 

College Facility 3% 24% 10% 3% 8% 10% 5% 7% 6% 6% 6% 12% 8% 

Per~orminll Arts Facilities 79% 57% 64% 61% 60% 82% 78% 67% 65% 75% 76% 77% 70%

Coffee House 1% 0% 0% 0% 0% 0% 0% 0% 0% 1% 1% 1% 0% 

Dinner Theatre 5% 5% 6% 3% 4% 4% 3% 12% 8% 4% 6% 3% 5% 

Nightclub/Jazz Club 6% 10% 16% 15% 2% 3% 6% 5% 8% 3% 2% 6% 6% 

Clubs/DinnerTheatre . .. ~i ;., 12% 15% 22%.. :18%. 6% 7% 8% 17% 16% 7% 8% 10% 12%

Church or Synagogue 1% 2% 2% 3% 1% 2% 3% 3% 4% 4% 2% 3% 3% 

Secondary School Facility 2% 3% 1% 9% 6% 3% 3% 3% 4% 2% 2% 1% 3% 

Library 0% 5% 0% 0% 0% 0% 0% 1% 0% 1% 0% 0% 1% 

Museum orArts Gallery 1% 1% 0% 0% 8% 1% 1% 0% 2% 0% 0% 0% 1% 

Park or Open-Air Facility 5% 13% 7% 7% 14% 3% 3% 6% 5% 6% 7% 7% 7% 

Town Hall/City Hall 0% 0% 0% 1% 1% 1% 1% 0% 0% 1% 0% 0% 1% 

YMCA~ YWCA, YMHA, YWHA 0% 0% 0% 0% 0% 0% 1% 0% 0% 0% 0% 0% 0% 

Alternative Venues 9% 24% 11% 20% 31% 9% 11% 13% 16% 14% 11% 12% 15% 

Other 0% 3% 2% 2% 2% 1% 2% 2% 3% 2% 3% 1% 2% 

Don~Know 0% 1% 0% 0% 2% 0% 0% 1% 0% 1% 2% 0% 1% 

R~fused 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 

TOTAL 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 100% 

HOW TO READ THIS TABLE: ’Parks or Open-Air Facilities’ constitute 13% of all reported venue attendances by Las Vegas respondents, 

while ’Alternative Venues’ constitute 24% of all reported venue attendances for Las Vegas respondents. 
..... VENUE TYPES ATTENDED BY DISCIPLINE 

12 Local Surveys of Public Participation in the Arts 

....... (Weighted Percentages for 12 Sites Combined) 

Table 3(b) 

Concert Hall or Opera House 9% 39% 61% 11% 9% 30% 12% 

Civic Center 5% 6% 5% 5% 4% 10% 5% 

Theatre 16% 17% 26% 59% 59% 43% 28% 

College Facility 7% 12% 3% 3% 9% 7% 12% 

Performing Arts Facilities 37% 95% 78% 81% 90% 57% , ,74%, 

Coffee House 1% 0% 0% 0% 0% 0% 0% 

Dinner Theatre 7% 2% 2% 13% 9% 2% 3% 

Nightclub/Jazz Club 25% 0% 0% 1% 1% 1% 3% 

Clubs/Dinner Theatre 33% 2% 2% 14% 10% 3% 6% 

Church or Synagogue 2% 10% 0% 1% 2% 0% 3% 

Secondary School Facility 2% 3% 0% 2% 2% 3% 10% 

Museum or Arts Gallery 1% 0% 0% 0% 0% 0% 1% 

Library 0% 1% 0% 1% 0% 0% 1% 

Park or Open-Air Facility 20% 6% 2% 2% 2% 1% 12% 

Town Hall/City Hall 0% 0% O% 0% 0% 0% 1% 

YMCA, YWCA, YMHA, YWHA 0% 0% O% 0% 0% 0% 1% 

Alternative Venues 25% 20% 3% 6%~7% 5% 28% 

Other 5% 4% 0% 1% 1% 2% 8% 

Don’t Know 0% 0% 0% 1% 2% 1% 0% 

Refused 0% 0% 0% 0% 0% 0% 0% 

TOTAL ,,,!00% ...... :1,00%, 100%,,,,1100% 100% 100% 100% 

HOW TO READ THIS TABLE: One quarter of all jazz attenders in the combined sample 

reported seeing their most recent jazz performance at a ’Nightclub/Jazz Club’. 
 

 

 

 

_ _ 

VENUE TYPES ATI’ENDED BY DEMOGRAPHIC CHARACTERISTICS 

12 Local Surveys of Public Participation in the Arts 

.... ~Wcf~hted percentage~,for 12 S~t,eS Combined) 

RACE AGE 

TOTAL $20,000 or $20,000 to $50,000 to $100,000 Table 3(c) White Black Hispanic Other 18-29 30-39 40-59 60+ SAMPLE Less $49,999 $99,999 or More 

Concert Hall or Opera House 20% 21% 14% 14% 20% 17% 19% 20% 23% 23% 17% 20% 19% 

Civic Center 5% 5% 4% 14% 7% 4% 6% 5% 6% 4% 6% 6% 5% 

Theatre 39% 39% 44% 30% 31% 38% 35% 41% 40% 36% 36% 39% 46% o"~’/o Collelqe Facility 8% 13% I uTo 8% 

72% ,, ,,72% 67% 6,3% .... , :71% 72% 66% 71% 78% 71% 66% 73% 72% Performin~ Arts Facilities ..... 

Coffee House 0% 0% 0% 1% 0% 0% 0% 0% 0% 0% 0% 0% 0% 

Dinner Theatre 7% 7% 6% 7% 6% 5% 6% 8% 7% 5% 8% 6% 10% 

Nishtciub/Jazz ~l~ ............. 4% 6% 8% 3% 7% 8% 3% 2% 3% 7% 4% 5% 

Clubs/Dinner Theatre 12% 12% 13% 16% i 10% 12%~ 14%~ 12% 9% 9% 15% 10% 15% 

Church or Synagogue 3% 3% 5% 8% 2% 2% 4% 4% 3% 5% 3% 3% 2% 

Secondary School Facility 3% 3% 3% 1% 1% 3% 2% 3% 5% 3% 4% 4% 2% 

Museum or Art_s .G_~le~ 0% 0% 0% 0% 1% 0% 0% 1% 0% 1% 0% 0% 0% 

Library 0% 0% 0% 0% 1% 0% 1% 0% 1% 1% 1% 0% 0% 

Park or Open-Air Facility 6% 6% 9% 7% 9% 7% 10% 7% 2% 6% 8% 7% 4% 

Town Hall/City Hall 0% 0% 0% 1% 0% 0% 0% 0% 0% 0% 0% 0% 1% 

YMCA, YWCA, YMHA, YWHA 0%. ...... 0% 0% 0% 1% 0% 0% 0% 0% 0% 0% 0% 0% 

Alternative Venues 14% 13% .... 13% 17% 14% 11% 16% 16% 15% 10% ’ 

Other 3% 3% 2% 5% 4% 3% 3% 3% 2% 4% 3% 2% 3% 

TOTAL 100% 100% 100% 100% 100% 100% 100% 1~% 100% 100% 100% 100% 100% 

HOW TO READ THIS TABLE: ’Dinner Theatres’ were attended relatively more often by performing aas attenders with annual incomes over $100,000 than by attenders in other 

income categories. ’College Facilities’ constitute 13% of all reported venue types last attended by 18 - 29 year old respondents in the combined sample. 
 

REASONS CITED FOR NOT ATTENDING MORE OFTEN 

i 2 Local Surveys of Public Participalion in the Arts 

...... ,,,,’ ...... ,, , i: 0Veish, ted Percenmses) , .... 

Table 4(a) ~ ~ z z ~r

Would Like to Attend Cultural Events More Often?
 

Yes 66% 68% 71% 64% 73% 57% 74%’ " ’6’8°/o. 68°/o.. 71% 70% 68% 69°/o
 

No 32% 31% 28% 35% 26% 38% 24% 29% 30% 28% 29% 31% 29%
 

Don’t Know 2% 1% 2% 1% 1% 4% 2% 3% 2% 1% 1% 1% 2%
 

If ’YE~" - Reasons for not attending more, o~ (mMtlple selections allowed) 

’ 

Overall cost of going to events 18% 12% 14% 11% 16% 11% 26% 22% 21% 24% 

Don’t have time 64% 56% 57% 42% 61% "59% ’57% 63% ’57% 52% 63% 69% 61% 

10% 19% 20% 

Cost of tickets 21% 13% 20% 9% 15% 17% 26% 18% 20% 18% 15% 19% 19% 

Lack of cluId care/babysitting l_~ck of interest
 7% 7% 5% 6% 7% 7% 9% 13% 10% 7% 7% 10% 10%

4% 8% 8% 6% 10% 7% 7% 6% 8% 7% 7% 13% 7% 

Distance/travel time/inconvenient location 5% 3% 3% 19% II% 4% 5% 10% 7% 6% 2% 7% 7% 

Transportation/traffic/parking problems 5% 7% 3% 6% 3% 2% 7% 4% 10% 7% 7% 4% 6% 

No one to go with 6% 3% 6% 7% 2% 5% 5% 8% 7% 6% 3% 2% 6% 

Problem related to age/health 5% 5% 5% 5% 4% 7% 5% 8% 6% 12% 7% 6% 

Just don’t get around to it 4% 3% 8% 6% 1% 6% 5% 6% 5% 3% 5% 4% 5% 

Other 4% 7% 6% 3% I% 7% 5% 3% 4% 6% 5% 4% 

Not available/not enough variety 4% II% 18% 22% 22% 10% 1% 2% 4% 8% 4% 3% 3% 

Problem related to handicap 1% 3% 3% 3% 2% 2% 1% 2% 1% 2% 2% 4% i 2% 

Ticketssoldout 1% 1% 0% 0% 0% 1% 1% 2% 2% 0% 9% 1% 

Crimelfear of crime 1% 1% 1% 0% 2% 2% 0% 3% 0% 1% 

Don’tknow 1% 2% 1% 3% 0% 1% 2% 1% 0% 1% 1% 1% 

Poor quality of performance 0% 2% 1% 1% 1% 1% 0% 1% 1% 0% 0% 

Preferto watch TV 1% 1% . 1% 0% i 1% 1% [ 0%0% 0%  ̄ [ . 3% 0% 

HOW TO READ THIS TABLE: Of all Broward County respondents who would like to attend arts events more often, 12% cited ’Problems related to Age/Health’ 

as a reason for not attendin8 more often. 
 

 

 

PRIMA RY REASON FOR NOT ATTENDING MORE OFTEN
 

12 Local Surveys of Public Participation in the Arts 

.................... (Weil~hted ,PercentaseQ ............. 

Table 4(b) 

Lack of interest 7% 5% 8% 5% 15% 11% 5% 6% 3% 4% 4% 6% 5% 

Don’t have time 34% 36% 31% 19% 23% 41% 36% 39% 31% 38% 42% 39% 36% 

Prefer to watch TV 3% 1% 0% 0% 

Just don’t get around to it 1% 1% 2% 0% 4% 1% 1% 1% 1% 1% 1% 1% 1% 

Don’t know 3% 4% 2% 2% 1% 4% 3% 2% I% 2% 1% 2% 2% 

Sub-Total: Personal Bar,~ers 46% 47% 43% ....~% 45%,, 57%,, ,46%, 47% 36% 44% 48% 48% 44% 

Cost of tickets 4% 4% 4% 2% 0% 2% 8% 4% 4% 4% 5% 1% 4% 

Overall cost of going to events 20% 16% 20% 13% 27% 16% 24% 15% 24% 15% 11% 22% 1~% ~ub. Total:. Price Factors 24% 21% 24% 15% 27% 17% .31% 19%. 28% 19% 16% 23% 23% 

Lack of cluld care/habysittin8 5% 3% 3% 2% 4% 5% 5% 3% 3% 2% 2% 4% 3% 

No one to 8o with 12% 2% 3% 2% 1% 5% 4% 4% 4% 6% 2% 12%
 

’Problem related to handicap 0% 1% 0% 2% 0% 1% 0% 1%
 

Problem related to agelhealth 4% 2% 0% 2% 2% 4% 2% 3% 4% 8% 3% 1% ...3%..
 

Sub-Total: Social/Physical Barriers , ,, .21%.. ;7%.. 7% 5% .... 6% !4%. .11% 13% 10% 16% 6% 17% 12%
 

Transportation/traffic/parking problems 3% 3% 2% 5% 2% 1% 2% 5% 8% 4% 8% 3% 5% 

Distance/travel time/inconvenient location 2% 3% 5% 30% 13% 2% 9% I1% 4% 4% 2% 7% 

Crime/fear of crime 1% 0% 1% 0% 2% 1% 7% 11% 2% 

Sub-,ro~t:, ,Loc,aaonat t, sues 5% 6% ,,8% .... 31% 14% 1% 4% ,, !5%, , ,I,~ .....!~ ....... 23% 5% 14% 

Tickets sold out 0% 0% 1% 0% 

Poor quality of performance 1% 1% 1% 2% 1% 2% 1% 0% 

Not available/not enough variety 4% 16% 13% 21% 6% 4% 2% 2% 5% 3% 2% 5% 4% 

Sub-Total: [~uali~lAvatlability 4% 20% 18% 22%, 7% ,,1,0%,,,7% 6% 6% 6% 6% 9% 7% 

Other 1% 1% 1% !% 1% 1% 1% 1% 

Refused 1% 0% 

TOTAL ..... 100% 100% 100% 100% 100% 100% I, 100% 100% 100% 100% 100% 100% 100% 

HOW TO READ THIS TABLE: Of all Seattle/King County respondents, 31% cited price factors as the primary reason for not attending arts events more often. 
PRIMARY REASON FOR NOT ATTENDING MORE OFTEN
 

FOR DEMOGRAPHIC SUB-GROUPS 

12 Local Surveys of Public Participation in the Arts 

Q~Vei~hted Percentages for 12 Sites Combined) 

Table 4(c) 

AGE 

18 to 29 1251 49% 

30 to 39 1306 50% 

40 to 59 1479 50% 

60 and Over 778 21% 

GENDER 

Male 2030[ 57% 

Female 3010 [ 35% 

RACE 

White 3729 44% 

Black 582 46% 

Hispanic 275 43% 

l Other 336 51% 

!EDUCATION 

High School or Lowe~ 1730 45% 

Some College 1472 45% 

Bachelor’s De£ree or Hi~her 1737 43% 

INCOME 

Less than $20,000 978 31% 

$20,000-$49,999 1940 47% 

$50,000-$99,999 941 52% 

$100,000 or More 266 63% 

MARITAL STATUS 

Mamed 2727 44% 

Widowed 301 23% 

Separated 140 40% 

Divorced 574 49% 

Never Mamed 1203 47% 

19% 

26% 

24% 

26% 

18% 

26% 

24% 

21% 

21% 

17% 

20% 

24% 

25% 

32% 

23% 

18% 

6% 

24% 

29% 

40% 

19% 

20% 

8% 

13% 

7% 

25% 

7% 

16% 

12% 

9% 

13% 

15% 

10% 

13% 

13% 

15% 

10% 

9% 

7% 

15% 

15% 

5% 

10% 

8% 

13% 

8% 

11% 

25% 

12% 

16% 

14% 

17% 

10% 

8% 

19% 

12% 

11% 

17% 

14% 

10% 

15% 

12% 

28% 

12% 

15% 

15% 

11% 

5% 

7% 

3% 

7% 

7% 

6% 

8% 

14% 

8% 

6% 

5% 

9% 

5% 

6% 

10% 

8% 

6% 

6% 

3% 

7% 

10% 

HOW TO READ THIS TABLE: Among all respondents aged 18 - 29, 19% cited price factors 

as the pmnary reason for not attending more often, compaxed to 26% for all respondents 

over age 59. 
 

ATTITUDES ABOUT ARTS PARTICIPATION 

12 Local Surveys of Public Participation in the Arts 

(Weighted Percentages) 

Table 5 

How important,i~ it to partic~ate in arts,gvents ? 

Very Important 13% 17% .... 2~4% 19’~o......... i9°/o 27% ....... 29% 21% 

Somewhat Important 47% 53% 51% 49% 52% 44% 54% 53% 54% 49% 45% 55% 

Not at all important 39% 31% 31% 35% 23% 35% 21% 28% 25% 24% 26% 24% 

Don’t Know 1% 0% 2% 1% 0% 1% 1% 1% 0% 

O% 

How important are art classes in schools,? ,
 

Very Important 58% 66% "72%’ "57% 75% ’61%’ 6~’% 66°/o 69%’ ’69% 77% 67%
 

Somewhat Important 33% 26% 23% 35% 21% 29% 25% 31% 23% 24% 15% 28%
 

Not at all important 9% 7% 5% 6% 3% 9% 6% 3% 8% 6% 7% 4%
 

Don’t Know 1% 1% 3% 2% 0% 1% 1% 1% 0% 1% 0% 2%
 

Refused 0% 

How do you rate the availability and adequa,c.y of inforrnation about arts events in, ,),our, area ? 

Excellent 13% 10% 6% 8% 14% 16% 15% i9%’ ’15% 15% 25% 

Good 50% 35% 40% 36% 53% 47% 46% 45% 42% 53% 32% 50% 

Fair 20% 33% 31% 29% 22% 22% 25% 20% 26% 19% 26% 17% 

Poor 10% 14% 12% 22% 8% 6% 6% 11% 11% 5% 11% 5% 

Don’t Know 7% 9% 11% 5% 4% 9% 7% 5% 7% 8% 12% 4% 

Refused 0% 0% 0% 0% 

’2o 

52% 

27% 

1% 

0% 

’6~% 

26% 

6% 

1% 

0% 

17% 

44% 

23% 

10% 

7% 

0% 

HOW TO READ THIS TABLE: One quarter of Sedona respondents think that participating in arts events is "very important." 

San Jose respondents seem the most satisfied with the availability of information about arts events. 
 

 

 

 

SOURCES OF INFORMATION ON ARTS EVENTS
 

........ .. 12 Local Surveys of Public Participation in the Arts
 

....... ~,, ~ ........... (Weighted Percentages) :
 

< 

< 

Table 6(a) 

Media Sources 82% 79% 85% 80% 82% 77% 82% 83% 82% 86% 77% 81% 82% 

Newspapers 73% 64% 72% 71% 77% 64% 74% 77% 76% 80% 63% 74% 74% 

Television 36% 40% 40% 24% 6% 35% 23% 22% 23% 33% 32% 19% 26% 

Radio 18% 24% 29% 28% 21% 26% 23% 18% 19% 18% 24% 18% 20% 

Magazines 8% 2% 3% 2% 1% 1% 4% 4% 5% 1% 2% 3% 4% Word:qf.Mouth Sources’ 

20% 14% 16% 11% 28% 11% 21% 17% 19% 16% 11% 14% ’17% 

Word of Mouth 16% 11% I " 20%I 14% 28% 11’~ ’21% 17% 19% 16~’ 11% 14%" 17% 

Friends, relatives, other individuals 6% 7% 10% 4% 12% 11% 13% 11% 9% 11% 10% 14% 10% 

Targeted Appeal 13% 16% 13% 13% 15% 14% 22% 17% 16% 15% 13% 19% 16% 

Mailed announcement, flyer, brochure 13% 15% 13% 13% 15% 14% 22% 16% 16% 15% 12% 19% 16% 

Telemarketing, telephone solicitation 0% 1% 0% 0% 0% 0% 1% 0% 0% 1% 0% 0% 0% 

Other Sources 14% 13% 15% 13% 9% 15% 12% 18% 16% 7% 12% 9% 15%" 

Posters, notices in public areas 8% [ 7% 8% 8%’ ’ 7% 1_..i_8% 7°/o. 11% ’’ 10% 5% 7% 7% 9% 

Schoolnotices 4% I 4% 5% [ 3% "2% | 4% ]’ 5% 6% 5% 2% 4% 2’7/o 5% 

Other 3% 2% ] 3% 2% 10% 13% [ 1% 2% 1% ]1% 1% 0% | 1% 

HOW TO READ THIS TABLE: Only 6% of Sedona respondents cite ’Television’ as a sources of information on arts events, compared to 40% for 

Las Vegas and Rent. 
 

SOURCES OF INFORMATION BY DEMOGRAPHIC CHARACTERISTICS 

12 Local Surveys of Public Participation in the Arts 

, ,, ; , , ,, , ~ (Weighted Pexcentage~ for 12 Sites ­otnbined) .... , ; : ....... 

Table 6(b) , I ~ I o i I [ I INI I I o o o 

All Respondents 74% 26% 20%/ 4% 1 82% 116%/10%1 24% I 16% ~ 0% I 16% I 9% I 5% I1% 15% 4% 

AGE 

18 to 29 64% ’
 

30 to 39 78% 29% 27% 5% 85% 15% 10% 15% 16% 0% t~% 8% I 6% I
 

40 to 59 83% 27% 21%1 4% 89% 19% 16% 0% 16% 1% I 15% I 3% I 4% 10%I 19% 10%I 4% I 

60 and Over 72% 25% 12% i 4% ,78%~ 16% 10% ,,!6%, 21% 0% 21% 5% I 1% I 1% I 15% I 2% I 3% 1% I,, 8% I 5% I 5% 

GENDER 

Male 72% ’25%’ 20%’’ 5% ’ 80%’ i6%’ 9%’ ’16%1 .... 13%’ 

Female 76% 26% 19% 3% 84% 18% 11% 18% 19% 

RACE 

White 80%’ 23%’ ’20%’ ~%’ " 8~%’"1’"1~@0 ’"~oZ~ 1 ’17% ’ ’17%’1" 0% .... 17% 9% 

Black 63% 37% 24% 2% 77% I 16% 18%I 16% 14% 0% 14% 10% 6% I 3%1 17%1 4%[5% 

Hispanic 46% 30% 19% 1% 62% I 10% 10% [ 10% 13% 0% 13% 17% 7% I 1%1 24%19%1 7% 

Other 56% 29% 13%, 3% , 66% [ 18% 12% I, 18% , 16% 0% 16% 7% 8% I 1% I 1,6% I 9% I 7% 

!EDUCATION 

High School or Lower ’ 63@0’ ’ 27% i~%’ ’1 4%’I ’74% i7%’I’ 11% 17%"1 ’1’2@o’0% I 12% 8% 

Some College 80% 28% 18% I 4% 86% 16%I 9% 16% 115% 1% I 16% 8% 4%12% 14%I 2% 13% Bachelor’s Degree or Higher 84% 22% 25% I 5% 88% 17% 10% 17% I 22% 0% I 22% 12% 5% I% 17% I 3% 1% I 

INCOME 

Less than $20,000 60% I 28% 1’~@03%’1’ 74% I 19%’ 9% ’19%’1 16%’ ’ 0% 16% 1 i% 6% I"1% ] 18% ] "4% I 7% 

$20,000-$49,999 82% I 30% 20% 4%1 88%115% 9% 15%114% 1% 14% 9% 4%11%115%13%I 2% 

$50,000-$99,999 83% I 19% 25% 3%1 88%116% 10% 16% 118% 1% 19% i 8% 4% 2%I 14%13%11% 

$100,000 or More 82% ] 22% 25% 8% l, 85%,,,I 15% 11% 15% 125% 0% 25%110% 3% 2% I 14% ,I 2% I 2% 

MARITAL STATUS 

Married 81%’ ’2’6% 2’1% ] 4%’ [ 87% 15’% 8%’ I 15% I ’1’8% i% 118% 17%14% t 2% i 13%
 

Widowed 67% 24% 10% ] 4% I 72% 20% 15% I 20% I 20% 0%I 20% ] 3% ] 6%] 0% ] 10%I 7"/o ] 5%
 Separated 57% 42% 14%I 6% [ 74% 32% 4% I 32% I 13% 0% ] 13% I 5% [ 1% I 1% [ 6% [ 3% I 12%
 , Divorced 81% 27% 21% ] 3% ] 87% ! 17% 13% I 17% I 13% 0% [ ~3% I~=~1 3~ I ~ I 16% ] 2% I 4%

Never Married 62% 24% 20% ] 5% I 74% i 18% 12% I 18% I 13% 

HOW TO READ THIS TABLE: White respondents get information about arts events from newspapers more often than Blacks (80% vs. 63%), whereas Blacks are more likely than
 

Whites to receive arts information from television (37% vs. 23%).
 

NOTE: Percentages do not total 100% because multiple selections were allowed.
 
SAMPLE DEMOGRAPHICS BY SITE 

12 Local Surveys of Public Participation in the Arts 

(Unweighted Sample Data) 

Table 7(a)
 

Raw Data
 

HOUSEHOLD SIZE 

Mean # of Adults/18+) 2.32 2.32 2. ~.4 2.13 2.07 2.17 2.16 2.42 2.44 2.32 2.5 2.48 2.31 

AGE
 

18 to 29 22% 25% 27% 23% 5% 24% 30% 31% 34% 25% 29% 33% 26% 

30 to 39 31% 30% 29% 30% 14% 26% 28% 27% 29% 26% 28% 26% 27% 

40 to 59 29% 30% 31% 35% 37% 34% 32% 29% 24% 31% 28% 32% 31% 

60 and Over 19% 15% 13% 12% 44% 16% 10% 13% 13% 19% 15% 9% 16% 

Median Age 39 37 38 39 56 40 36 36 35 39 37 36 38 

GENDER
 

36% 42% ’"43% 44% 31% 37% 40% 43% 40% 39% 42% 45% 40% 

Female 64% 58% 57% 56% 69% 63% 60% 57% 60% 61% 58% 55% 60% 

White 88% 79% 89% 89% 95% 79% 84% 75% 55% 78% 38% 71% 76% 

Black 9% 10% 2% 0% 1% 18% 5% 15% 40% 11% 16% 3% 12% 

Hispanic 0% 5% 4% 4% 1% 1% 3% 4% 2% 6% 26% 14% 6% 

Other 4% 7% 6% 6% 4% 2% 8% 6% 4% 5% 21% 12% 7% 

EDUCATION 

High School or Lower 42% 40% 36%’ 45% 21% 38% 26% 34% 40% 30% 39% 26% 35% 

Some College 25% 31% 34% 35% 32% 26% 27% 27% 28% 32% 29% 33% 30% 

Bachelor’s Degree or Higher 33%,, 30% 30% 20% 47% 35% 46% 39% 31% 39% 32% 42% 35% 

INCOME 

Less than $20,000 35% 21% 23% 21% 24% ’20% 18% 23% 30% 17% 33% 15% 24% 

$20,000-$49,999 42% 50% 51% 51% 52% 49% 46% 43% 48% 53% 44% 38% 47% 

$50,000-$99,999 19% 21% 21% 25% 17% 27% 27% 25% 19% 23% 17% 36% 23% 

$100,000 or More 5% 9% 5% 3% 7% 4% 9% 10% 3% 6% 7% 12% 6% 

MARITAL STATUS 

Married 52% 53% 52% 65% 68% 65% 57% 54% 42% 57% 51% 54% 55% 

Widowed 9% 5% 7% 6% 9% 3% 5% 5% 8% 7% 7% 2% 6% 

Separated 2% 3% 3% 2% 2% 4% 1% 2% 5% 3% 2% 3% 3% 

Divorced 9% 16% 15% 16% 10% 8% 11% 12% 11% 12% 10% 11% 12% 

Never Married 27% 23% 23% 12% 12% 20% 26% 27% 35% 21% 30% 30% 24% 

HOW TO READ THIS TABLE: Sedona respondents have the highest median age (56) of the 12 sites. Only 5% fall into the ’18 to 29’ age group. 

NOTE: This table shows UNWEIGHTED, "raw" data. Minority populations were intentionally oversampled in some sites. 
SAMPLE DEMOGRAPHICS BY SITE 

12 Local Surveys of Public Participadon in the Arts 

(Weighted Sample Data) 

Table 7(b)
 

Weighted
 

Data
 

HOUSEHOLD SIZE 

Mean # of Adults (18+) 3.15 4.02 3.:15 2.68 5.57 2.85 4.48 4.02 5.71 ] 5.2’~ t 5.36 5.68 4.69 

18 to 29 21% 22% 25% 22% 31% 24% 25% 26% 24% 18% 19% 28% 24% 

30 to 39 24% 27% 24% 24% 28% 22% 23% 21% 23% 16% 21% 24% 22% 

40 to 59 26% 30% 30% 32% 28% 32% 31% 33% 28% 29% 34% 32% 31% 

60 and Over 29% 21% 21% 22% 14% 23% 21% 21% 25% 36% 26% 16% 23% 

Median A~e 44 41 41 43 37 42 40 43 43 52 45 40 43 

GENDER
 

Male 46% 50% 50% 53% 46% 46% 49% 47% 46% 47% 46% I 49% 47% 

Female 54% 50% 50% 47% 54% 54% 51% 53% 54% 53% 54% I 51% 53% 

White 86% 78% 84% 82% 91% 77% 87% 72% 79% 87% 47% 67% 75% 

Black 9% 7% 2% 1% 2% 20% 4% 15% 16% 8% 17% 4% 13% 

Hispanic 1% 7% 7% 10% 3% 0% 1% 5% 1% 2% 17% 18% 5% 

Other 3% 8% 7% 8% 4% 3% 9% 8% 3% 3% 19% 12% 7% 

EDUCATION 

High School or Lower 47% 44% 42% 47% 37% 46% 32% 40% 39% 31% 40% 27% 39% 

Some College 25% 29% 31% 34% 28% 25% 28% 27% 27% 31% 30% 30% 28% 

Bachelor’s Desree or Hi/~her 28% 27% 27% 19% 35% 28% 41% 33% 35% 38% 30% 43% 34% 

INCOME 

Less than $20,000 37% 30% 32% 34’% 36% 30% 26% 31% 29% 28% 37% 14% 30% 

$20,000-$49,999 43% 52% 50% 49% 46% 47% 47% 41% 46% 48% 42% 35% 

$50,000-$99,999 17% 15% 14% 15% 13% 20% 21% 22% 20% 20% 16% 37% 21% 

$100,000 or More 3% 4% 3% 2% 4% 3% 6% 6% 5% 4% 5% 14% 6% 

MARITAL STATUS 

Married 56% 55% 53% 63% 56% 66% 58% 54% 52% 64% 56% 59% 55% 

Widowed 10% 6% 9% 7% 2% 4% 7% 7% 9% 9% 9% 2% 8% 

Separated 2% 2% 3% 2% 1% 3% 1% 2% 5% 2% 2% 3% 3% 

Divorced 7% 14% 13% 16% 12% 6% 10% 12% 8% 10% 9% 11% 10% 

Never Married 26% 24% 22% 11% 30% 21% 24% 25% 27% 15% 24% 26% 25% 

HOW TO READ THIS TABLE: San Jose respondents reported the highest education levels among the 12 sites. A total of 43% earned a Bachelor’s 

desree or hisher. 
EDUCATION LEVELS: SAMPLE DATA VS. 1990 CENSUS
 

12 Local Surveys of Public Participation in the Arts
 

National Endowment for the Arts
 

Highest Education Level Achieved 

Table 8 

Pittsburgh Area, PA 

Unwei~hted Sample Data (A) 

11990 Census Data (B) 

Variance (A - B}

Las Vesas, NV 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Reno, NV 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Rural Nevada ZIPs 

Unweighted Sample Data ’(Ai 

1990 Census Data (B) 

Variance (A - B) 

Sedona, AZ 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Winston.salen~ NC 

Unweishted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Seattle/Kin# Coanty, , WA 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Chica~o Area, IL 

Unweighted Sample Data (A) 

1990 Census Data (B) 

! Variance(A - B) 

Philade~hia MSA 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B)

Broward County, FL 

Unweishted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B)

Dade County, FL 

Unweighted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B) 

Santa, Clara County, CA 

Unweishted Sample Data (A) 

1990 Census Data (B) 

Variance (A - B)
 

ALL SITES COMBINED
 

Unweighted Sample Data 

Weighted Sample Data
 

1990 Census Data (12 Sites Combined)
 Varlance from Unwei~hted Sample Data 

Variance from Weighted Sample Data 

High School 

or lower 

42% 

57% 

-15% 

44% 

55% 

-11% 

35%’ 

46% 

-11% 

44% 

52% 

-8% 

20% 

43% 

-23% 

38% 

51% 

-13% 

35% 

-10% 

33% 

50% 

-17% 

41% 

57% 

-16% 

29% 

55% 

-26% 

37% 

58% 

-21% 

25% 

37% 

-12% 

35% 

38% 

51% 

-16% 

-13% 

Some
 

College
 

24%
 

21%
 

3% 

29% 

31% 

-2% 

33% 

34% 

-1% 

35% 

33% 

2% 

31% 

32% 

-1% 

26% 

24% 

2% 

33% 

-6% 

27% 

26% 

1% 

28% 

20% 

8% 

31% 

26% 

5% 

29% 

23% 

6% 

32% 

31% 

1% 

30% 

28% 

25% 

5% 

3% 

Bachelor’s 

Degree or 

higher 

33% 

23% 

10% 

26% 

14% 

12% 

30% 

20% 

10% 

21% 

15% 

6% 

45% 

25% 

20% 

35% 

24% 

11% 

46% 

33% 

13% 

38% 

25% 

13% 

31% 

23% 

8% 

37% 

19% 

18% 

31% 

19% 

12% 

40% 

33% 

7% 

35% 

34% 

24% 

11% 

10% 
MEAN FREQUENCY OF ATTENDANCE 

12 Local Surveys of Public Participation in the Arts 

OVei~hted Percentages) 

Table 9
 

DISCIPLINE 

Jazz ........ 2.26’" 2.45 3.25’ " 2.55 1.70 ’~.’15’’ 2.69 2.7~ ........ ~A6 ’3.35 .....~.’35’ 2.4~ 2.70 ..... 

Classical Music 3.25 2.66 2.63 2.51 2.80 2.38 2.64 2.93 2.50 2.98 3.72 2.74 2.84 

Opera 2.15 1.39 1.93 1.17 2.72 1.40 1.80 1.97 1.43 2.59 1.77 1.92 1.86 

Musicals 2.56 2.20 2.04 1.53 2.23 2.07 2.68 2.27 1.97 2.68 2.76 2.28 2.30 

Plays 3.18 2.37 2.08 1.48 1.59 1.87 2.81 2.15 2.37 2.46 3.08 2.73 2.45 

Ballet 1.57 1.47 2.01 1.50 1.23 1.37 1.52 1.32 2.44 2.42 2.02 1.35 1.77 

Other Dance 1.96 1.92 2.02 1.64 3.32 1.75 2.18 1.87 2.02 1.72 2.61 2.25 2.03 

Art Museums 2.20 3.17 2.59 2.70 3.95 2.98 3.26 2.77 2.15 2.88 2.69 2.57 2.62 

Art/Crafts Fair/Festival 2.30 2.29 2.49 2.19 2.49 2.07 2.59 2.91 2.49 2.74 2.48 2.79 2.66 

Historic Park/Monument 2.42 3.16 3.51 3.11 3.90 2.48 3.23 2.86 2.77 2.54 3.00 3.02 2.85 

HOW TO READ THIS TABLE: Sedona respondents who reported visiting an ’Art Museum/Gallery’ at least once over the past 12-month period
 

attended an average of 3.95 times. This compares to an average of 2.62 times for all sites combined.
 

NOTE: Frequency observations over 12 were excluded from the calculation of mean values for this analysis.
 
FREQUENCY OF PARTICIPATION
 

BY DEMOGRAPHIC CHARACTERISTICS
 

12 Local Surveys of Public Participation in the Arts 

(Weighted Percentages for 12 Sites Combined) 

Highest Number of Times Attended Any of 8 Core Disciplines 

Table 9(a) 

AGE 

18 to 29 

30 to 39 

40 to 59 

60 and Over 

GENDER 

Male 

Female 

RACE 

White 

!Black 

Hispanic 

Other 

EDUCATION 

High School or Lower 

Some College 

Bachelor’s Degree or Higher 

1N	OME 

Less than $20,000 

$20,000-$49,999 

$50,000-$99,999 

$100,000 or More 

MARITAL STATUS 

Married 

Widowed 

Separated 

Divorced 

Never Mamed 

0 Times 

21% 

22% 

31% 

27% 

44% 

56% 

68% 

15% 

7% 

10% 

54% 

28% 

18% 

46% 

41% 

12% 

2% 

53% 

10% 

3% 

12% 

22% 

1 Time 

31% 

24% 

28% 

16% 

49% 

51% 

78% 

10% 

7% 

5% 

40% 

31% 

30% 

22%
 

50%
 

24%
 

4%
 

52% 

6% 

4% 

9% 

30% 

2or3 

Times 

24%, 

25% 

31% 

21% 

47% 

53% 

80% 

13% 

3% 

5% 

29% 

28% 

43% 

21% 

45% 

26% 

7% 

59% 

6% 

2% 

10% 

24% 

4or5 

Times 

29% 

17% 

31% 

24% 

44% 

56% 

71% 

11% 

7% 

11% 

18% 

27% 

55% 

15% 

42% 

29% 

14% 

58% 

5% 

1% 

7% 

29% 

6+ Times 

19% 

18% 

35% 

29% 

56% 

44% 

83% 

10% 

3% 

5% 

20% 

20% 

60% 

19% 

40% 

31% 

11% 

60% 

6% 

2% 

9% 

23% 

Total
 

Sample
 

24% 

22% 

31% 

23% 

47% 

53% 

75% 

13% 

5% 

7% 

39% 

28% 

34% 

30% 

44% 

21% 

6% 

55% 

8% 

3% 

10% 

25% 

NOTE: Respondents were categorized into six mutually exclusive groups based on the highest number of
 

times which they attended any of the 8 "core" disciplines.
 

I HOW TO READ THIS TABLE: Respondents whose highest frequency of attendance was 4 or 5 times were
 

more likely to have incomes over $160,000, compared to respondents in other frequency categories.
 
NUMBER OF DISCIPLINES ATTENDED
 

BY DEMOGRAPHIC CHARAC~RISTICS
 

12 Local Surveys of Public Participation in the Arts 

(Weighted Percentages for 12 Sites Combined) 

Number of 8 Core Disciplines Attended... 

1 2or3 4or5 6to 8 Table 10 None Discipline Disciplines Disciplines Disciplines 

AGE 

18 to 29 21% 29% 27% 22% 9% 

30 to 39 22% 26% 21% 19% 11% 

40 to 59 31% 25% 32% 36% 49% 

60 and Over 27% 21% 21% 23% 31% 

GENDER 

Male 45% 51% 49% 42% 43% 

Female 56% 49% 51% 58% 57% 

RACE 

White 68% 75% 78% 86% 88% 

Black 15% 13% 12% 9% 6% 

Hispanic 7% 6% 4% 3% 2% 

Other 10% 6% 7% 3% 5% 

EDUCATION 

High School or Lower 54% 41% 27% 14% 7% 

Some College 28% 32% 27% 21% 24% 

Bachelor’s Degree or Higher 18% 28% 46% 65% 69% 

INCOME 

Less than $20,000 46% 20% 23% 13% 20% 

$20,000-$49,999 41% 54% 44% 35% 26% 

$50,000-$99,999 12% 22% 27% 37% 38% 

$100,000 or More 2% 5% 7% 16% 16% 

MARITAL STATUS 

Married 53% 56% 53% 65% 73% 

Widowed 10% 6% 6% 6% 6% 

Separated 3% 1% 4% 2% 2% 

Divorced 12% 9% 9% 7% 8% 

Never Married 22% 28% 29% 21% 12% 

Total
 

Sample
 

24% 

22% 

31% 

23% 

47% 

53% 

75% 

13% 

5% 

7% 

39% 

28% 

34% 

30% 

44% 

21% 

6% 

55% 

8% 

3% 

10% 

25% 

HOW TO READ THIS TABLE: Of those respondents who attended none of the 8 core disciplines, 46% 

reported incomes less than $20,000, compared to 30% for the total sample. 
 

12 Local Surveys of Arts Participation Summary Report 

B. Sampling Error 

Any value derived from the use of sampling methodologies reflects the "true but unknown" 

values which occur in the data. For example, simply because the mean age for survey 

respondents in a given area is 46, this number is not absolute. There is variability 

surrounding this "point estimate" - since it was derived through sampling techniques and not 

through a census of the entire area. Therefore, a standard error must be calculated to define 

the area surrounding the point estimate in which the actual "true but unknown" value lies. 

Two different types of error rates apply to different analyses of the data. 

1. Single-Site Error Rates 

Comparison of rates within a site (for example, jazz participation rates for Dade County by 

race) requires that standard error rates be calculated based on the unweighted sample size for 

that site (usually about 400, but 600 for Philadelphia). For a sample size of 400, at the 95% 

confidence level, error rates will range from about 2% to 5%, depending on the survey 

percentage in question. 

For example, the jazz participation rate in Dade County for "White (’not 

Hispanic)" is 22%, while the same rate for "Black/African American" is 9%. 

Are these rates significantly different? Consult the table below entitled 

"Margin of Error for Single-Site Percentages." For a sample size of 400 

and a survey percentage of 22%, the error rate is 3.92%. Therefore, we are 

95% confident that the actual rate is 22% +/- 3.92%; or from 18.1% to 

25.9%. Similarly, the applicable error rate for a survey percentage of 9% 

with a sample size of 400 is 2.94%. Since the two ranges do not overlap, we 

can conclude that jazz participation rates for Whites and African-Americans 

in Dade County are significantly different at the 95% confidence level. 

Confidence limits from this table should be used to evaluate the statistical significance of 

survey percentages within a site. 

Margin of Error for Single-Site Percentages 

(95% Confidence Level) 

Sample Size 

400 600* 

Survey Percentage 

5%/95% 2.14% 1.71% 

10%190% 2.94% 2.40% 

15%/85% 3.50% 2.86% 

20%/80% 3.92% 3.20% 

25%/75% 4.24% 3.46% 

30%/70% 4.49% 3.67% 

35%/65% 4.67% 3.87% 

40%/60% 4.80% 3.92% 

45%/55% 4.88% 3.98% 

50%/50% 4.90% 4.00% 

*Phildelphia site only 

- 93 ­
12 Local Surveys of Arts Participation Summary Report 

2. Multiple-Site Error Rates 

Different standard error rates apply when evaluating the statistical significance of survey 

percentages across multiple sites. For instance, to see if classical music participation rates 

are different between Las Vegas and Reno (and other sites), confidence limits must be 

calculated based on the entire sample size for all 12 sites for the variable in question. Unlike 

the "Single-Site" error rates discussed above, these rates will allow us to determine whether 

survey percentages between sites are significantly different. 

For each of the common variables on all 12 surveys, a standard error was calculated on the 

total number of respondents answering each question, at the 95% confidence level. A 

Standard Error Table may be found at the end of this section. Standard error figures for the 

various participation rates ranged from .67% to 1.38%. The correct application of these 

standard error calculations is illustrated in the following example: 

The classical music participation rate for the Las Vegas, NV area is 8. 91%, 

while the classical music participation rate for the Reno, NV area is 18.24% 

(weighted percentages). From the table below, the standard error figure for 

classical music participation is 1.08%. Therefore, for Las Vegas, we are 

95% confident that the actual participation rate falls within a range of 

1.08% above or below the sampled rate of 8.91%. The same standard error 

figure is applied to the Reno data, resulting in the following confidence 

limits: 

Confidence Limits Confidence Level 

Las Vegas 7.83% to 9.99%. 95% 

Reno 17.16% to 19.32% 95% 

Since there is no overlap between the confidence limits, we can conclude 

that the difference between classical music participation in Las Vegas and 

Reno is statistically significant at the 95% confidence level. If the exact 

sample sampling procedures were repeated for the same areas, you would 

expect a statistically significant difference to occur 95 times out of lO0 times 

in which the study is duplicated. 

Statistically significant differences, on the 95% confidence level, occurred between locations 

for all of the core participation rates (both live performance and media). 

- 94 ­
12 Local Surveys of Arts Participation Summn_ry Repor~ 

12 Local Surveys of Public Participation in the Arts 

STANDARD ERROR TABLES 

For Multiple-Site Comparisons 

JAZZ 

CLASSIC 

OPERA 

MUSICAL 

PLAY 

BALLET 

ODANCE 

MUSEUM 

FAIR 

PARK 

BOOKS 

READPLAY 

READPOET 

READNOV 

HEARPOET 

HEARNOV 

TVJAZZ 

TVCLASS 

TVOPERA 

TVMUS 

TVPLAY 

TVDANCE 

TVART 

LISJAZZ 

LISCLASS 

LISOPERA 

LISMUS 

MISPLAY 

CINEMA 

Jazz participation 

Classical music participation 

Opera participation 

Musical stage participation 

Non-musical stage participation 

Ballet participation 

Other Dance participation 

Visited a museum or art gallery 

Attended an art fair or festival 

Visited a historic park or monument 

Read books 

Read plays 

Read poetry 

Read novels 

Listen to poetry 

Listen to novels or books 

Watched jazz on TV/VCR 

Watched classical music on TV/VCR 

Watched operas on TV/VCR 

Watched musicals on TV/VCR 

Watched stage play on TV/VCR 

Watched dance on TV/VCR 

Watched visual arts program on TV/VCR 

Listen to jazz on radio/recordings 

Listen to classical music on radio/recordings 

Listen to opera on radio/recordings 

Listen to musicals on radio/recordings 

Listen to stage plays on radio/recordings 

Attend movie theaters to see films 

1.03%* 

1.08%* 

0.67%* 

1.21%* 

1.13%* 

0.79%* 

0.88%* 

1.38%* 

1.38%* 

1.38%* 

1.18%* 

0.75%* 

1.30%* 

1.29%* 

1.02%* 

0.95%* 

1.33%* 

1.38%* 

1.12%* 

1.23%* 

1.22%* 

1.33%* 

1.38%* 

1.38%* 

1.38%* 

1.17%* 

1.13%* 

0.79%* 

1.19%* 

*Significant differences, on the 95% confidence level, occurred between locations. 

- 95 ­
 

12 Local Surveys of Arts Participation Summary Report 

VA~BLE t : FREQUENCY OF PARTICIPATION STANDARD 

NAME [ i VA~BLE DESC~ON ERROR 

GOMORE Like to attend arts events more often 1.24%* 

N JAZZ Nurriber of times attended jazz 3.40% 

NCLASSIC Number of times attended classical music 3.20% 

NOPERA Number of times attended opera 5.5O% 

NMUSICAL Number of times attended musicals 2.71%* 

NPLAY Number of times attended stage plays 3.01%* 

NBALLET Number of times attended ballet 4.58% 

NODANCE Number of times attended other dance types 4.09%* 

NMUSEUM Number of times attended museum/gallery 2.04%* 

Number of times attended art fair or festival 1.88%* 

NPARK Number of times attended historic park/monument 2.03%* 

NBOOKS Number of books read 1.65%* 

NTVJAZZ Number of times watched jazz on TV/VCR 2.40% 

NTVCLASS Number of times watched classical music on TV/VCR 2.26%* 

NTVOPERA Number of times watched opera on TV/VCR 3.10% 

NTVMUS Number of times watched musicals on TV/VCR 2.75% 

NTVPLAY Number of times watched stage plays on TV/VCR 2.79%* 

NTVDANCE Number of times watched dance on TV/VCR 2.37% 

NTVART Number of times watched visual arts program on TV/VCR 2.18%* 

*Significant differences, on the 95% confidence level, occurred between locations. 

VA~BLE ] ~NUE ~PES A~ENDED ..... ̄ STANDARD 

:NAME 

W JAZZ Jazz venues ,, ERROR 

3.38%* 

WCLASSIC Classical music venues 3.17%* 

WOPERA Opera venues 5.57%* 

WMUSICAL Musical venues 2.70%* 

WPLAY Stage play venues 3.00%* 

WBALLET Ballet venues 4.57%* 

WODANCE Other dance venues 4.08%* 

 ̄ Significant differences, on the 95% confidence level, occurred between locations. 

- 96 ­
12 Local Surveys of Arts Participation Summary Report 

HHSIZE 

OVER 18 

AGE 

EDUC 

RACE 

INCOME 

Number in household 

Number of adults 18 or older in household 

Age of respondent 

Highest education level completed 

Race or heritage 

Household income 

*Significant differences, on the 95% confidence level, occurred between locations. 

MOREl 

MOREMOST 

BAR1 

MOSTIMP 

HOWIMP 

SCHOOLS 

TVTYPE 

RATEINFO 

Want to attend more .... (first answer) 

Want to attend more often the most 

Reason for not attending (first answer) 

Most important reason for not attending 

How important is it to attend arts events 

How important is art in schools 

Cable TV, Network TV or both 

Adequacy of information 

1.39%* 

1.52%* 

1.41%* 

1.38%* 

1.38%* 

1.38%* 

1.38%* 

1.54%* 

1.63%* 

1.88%* 

1.38%* 

1.38%* 

2.64%* 

1.38%* 

*Significant differences, on the 95% confidence level, occurred between locations. 

NOTE: The standard error is calculated on the number of respondents answering each 

question and is the maximum standard error for each question. 

- 97 ­
12 Local Surveys of Arts Participation Summary Report 

C. Methodological Comparisons Between Local and National Surveys 

Methodological differences between the 12 Local Surveys and the 1982, 1985 and 1992 

National SPPA’s were summarized in the Methodology section of this report. These issues 

are central to understanding the variation in participation rates between surveys, and are 

discussed in greater detail here. 

1. Sponsorship/Survey Context 

The 12 Local Surveys and the National SPPA’s were presented to the eligible 

respondents in a significantly different manner, which may have affected the 

respondents’ perception of the two studies and, therefore, the completion rates and 

quality of answers. The National SPPA’s immediately followed surveys on crime, an 

issue that affects everyone to some degree. This may have served as an incentive to 

participate in the survey, attracting a very heterogeneous group representative of the 

general public. On the other hand, the 12 Local Surveys were introduced by the 

interviewers as follows: 

"Hello, this is (NAME) calling for (LOCAL SPONSOR) about a 

study of local participation in the Arts. This study is being cosponsored by the National Endowment for the Arts." 

Respondents were immediately able to contextualize the survey in terms of their own 

interests, and make a decision to proceed or hang up. Recent publicity surrounding 

the NEA’s funding of controversial art may also have had some bearing, positive or 

negative, on response rates. 

2. Random Digit Dialing Telephone Survey Methodology 

Approximately 75% of the interviews for the ’82 and ’85 national SPPA’s were 

conducted in person in the respondent’s home, whereas all of the 12 Local SPPA 

households were sampled by telephone using a random digit dialing approach. (The 

1992 SPPA was conducted by telephone, unlike the earlier SPPA’s, although other 

aspects of the methodology remained constant.) Four concerns arise from these 

differences in sampling methodologies: 

At Very simply, telephone interviews can be (and frequently are) terminated by 

the respondent at any time for any reason. Response rates for the 12 Local 

Surveys ranged from 40% to 52%, indicating that up to 1,000 households 

were contacted in some markets to achieve 400 completed interviews. 

(These response rates are not unusual for telephone surveys of this type.) 

Respondents with an interest in the survey subject matter are more likely to 

complete the interview, a source of upward bias in the final data set. 

Respondents who were interviewed in person (in their own homes) for the 

’82 and ’85 SPPA’s found it more difficult to terminate the interview, 

regardless of their interest or disinterest in the arts. 

Bo Households without telephones were excluded from the Local samples. It is 

assumed that households without telephones generally exhibit different 

demographic characteristics (i.e. lower income, education, etc.) than 

- 98 ­
12 Local Surveys of Arts Participation Summary Report 

households with telephones, and consequently are less likely to be arts 

participators. This potential source of bias arising from non-response was 

addressed by Abt Associates in their post-stratification weighting procedure. 

The great increase in telemarketing and telephone solicitations of all kinds 

has created a negative context for bonafide telephone survey research. For 

example, telemarketers sometimes introduce themselves as researchers, and 

what begins as a survey turns into a sales pitch. Generally, this increases the 

amount of resistance to telephone survey participation, except among those 

with an interest in the subject matter. Bias resulting from resentment or 

mistrust of interviewers cannot be measured, but nevertheless is a reality of 

telephone research. 

3. Respondent Eligibility 

Another primary difference between the 12 Local Surveys and the National studies is 

respondent eligibility. For the National SPPA’s, all adults (18+) in the sampled 

households were eligible respondents, and less than 15% to 20% of eligible 

respondents were not interviewed. For the 12 Local Surveys, only the one adult 

(18+) in the household with the most recent birthday was the eligible respondent. 

Although the procedure of selecting the person with the most recent birthday assures 

a random selection of adults within the sampled households, this procedure also 

creates a convenient excuse for uninterested but eligible respondents to terminate the 

call. If the desired respondent was not available at the time of the initial call, an 

attempt was made to schedule a return call. However, "Respondent Never 

Available" was included on the telephone interview script as a reason to terminate 

the call after callback procedures were exhausted. 

In contrast to the National SPPA’s, this procedure creates a barrier to reaching the 

eligible respondent, providing an opportunity for disinterested individuals to selfselect themselves out of the sample. Conversely, this also provides an opportunity 

for those with an interest in the arts to stick with the interview protocol. 

4. Out-of-Town Arts Participation 

None of the arts participation surveys, either local or national, asked respondents to 

distinguish between local and out-of-town arts participation. With the national 

surveys, this distinction was unnecessary, because the results were generalized to the 

U.S. population. However, the issue of out-of-town arts participation becomes 

relevant given the geographical definitions of the 12 local sites. Several issues arise, 

particularly in light of the effort to reconcile the supply of local arts activity with 

sampled arts participation rates. 

First, the sampled geographies (12 local sites) may be close to other cities with arts 

activity. For example, Sedona, AZ residents commonly drive to Flagstaff for arts 

presentations sponsored by Northern Arizona University. Therefore, arts 

participation rates for Sedona respondents do not relate exclusively to the supply of 

arts activity in Sedona. Presumably, local participation rates would be lower if outof-town attendance was discounted. Conversely, in areas where tourism is a major 

factor, local arts participation rates explain only a fraction of arts activity (e.g., Las 

Vegas, NV). 

- 99 ­
12 Local Surveys of Arts Participation Summary Report 

Secondly, several of the sampled areas (i.e., Broward and Dade Counties) have 

significant populations of seasonal residents, who also may attend arts events in 

another area. The 12 Local Surveys were conducted during the winter months when 

seasonal residents tend to be in Florida. Survey results show that 10% of Broward 

County respondents identified themselves as "snowbirds," versus 6% for Dade 

County. These respondents, who maintain two residences and fall into higher age 

brackets, are more likely to report higher attendance levels. 

Out of town arts participation is not a source of methodological bias, since the issue 

was treated consistently between the 12 local surveys. However, it may explain 

some of the variation in participation rates between sites. 

5. Termination Due ~9 Language Barrier 

For the 12 Local Surveys, an unknown number of calls were terminated immediately 

due to a language barrier [figures not released by Abt Associates], although some 

interviews were conducted in Spanish for the Dade, Broward, and San Jose sites. 

Participation rates in the traditional arts disciplines are generally lower among nonEnglish speaking immigrant groups, for cultural and socioeconomic reasons ­

another possible source of upward bias. Little mention is made in the 1982 and 1985 

SPPA reports about language barriers, except that interpreters were made available, 

if necessary.1 

6. Sampling Periods vs. Seasonality of Ar~ Activity 

The National SPPA’s were conducted over longer periods of time than the 12 Local 

Surveys. The 1982 and 1992 SPPA’s were conducted over a calendar year, with an 

even distribution of interviews each month, while the 1985 SPPA involved data 

collection only during the first six months of 1985 (January - June), which includes 

months of both high and low arts activity. (Arts programming drops off sharply 

during the summer months, particularly with respect to traditional programming.) 

The 12 Local Surveys were conducted during one of the most active 3-month periods 

for arts programming, mid-February through mid-May. 

Recent attendance may be more easily recalled by respondents, raising the possibility 

of higher participation rates for respondents interviewed during the performing arts 

season. 

7. Weighting 

The weighting procedures performed on the raw data by Abt Associates had a 

significant impact on participation rates. Consistently, weighted participation rates 

are lower than unweighted participation rates, typically by several percentage points, 

but occasionally by large numbers. The following data for Sedona, AZ illustrates an 

extreme example of the effect of weighting: 

1Survey of Public Participation in the Arts: Volume I. Pro_iect Report, John P. Robinson and others, March 

1987, page 25. 
12 Local Surveys of Arts Participation Summary Report 

Classical Music Participation - Sedona, AZ 

Unweighted Sample (raw data) 27.9% 

Weighted Percenti~g¢ 1~i,7% 

Variance 11.2% 

Sample data was first weighted for the number of adults in the sampled household. 

This procedure alone would tend to exaggerate the bias resulting from other sources. 

The second weighting procedure adjusted the data to bring the sample distribution 

into closer agreement with the actual distribution of age, race, gender, and household 

income for each site, to correct for potential bias arising from non-response, and to 

adjust the sample for non-coverage of households without telephones.. 

Bias resulting from a number of sources led to samples with substantially different 

demographics (i.e., race, income, education levels) than the actual figures for the 

sampled geographies. Given these large discrepancies, it appears that the poststratification weighting procedure resulted in some large downward adjustments to 

the original data. Despite this, weighted participation rates are still much higher than 

comparable rates from the ’82 and ’85 SPPA’s. Unweighted participation rates for the 

12 Local Surveys, although not used for this analysis, differ even more with the ’82 

and ’85 SPPA figures. 

D. Survey Design Comparisons: 12 Local Surveys vs. National SPPA’s 

The 12 Local Surveys differ significantly from the 1982 and 1985 National SPPA’s from a 

design standpoint, although the 1992 SPPA is more consistent with the Local Surveys. 

Beyond the addition and deletion of whole questions, a variety of both subtle and obvious 

changes were made in the wording of questions. In some cases, these changes may have 

affected the comparability of data across surveys. Some of the design differences between 

these surveys are discussed below. 

1. Oualifications to Participation 

The 12 Local Surveys and the 1992 SPPA ask respondents not to include grade 

school or high school functions for all the disciplines, whereas the 1982 and 1985 

SPPA’s only make this request for ’musical play or operetta’ and ’non-musical play’. 

Literature Participation 

Questions relating to literature participation were also treated differently. The 1982 

and 1985 SPPA’s included three questions about literature; one inquiring about the 

reading of novels, short stories or plays, the second asking if the respondent has read 

~ books or magazines, and the third asking about reading or listening to poetry. 

The 12 Local Surveys and the 1992 SPPA are more specific about literature 

participation, asking separately about reading of plays, poetry, and novels or short 

stories, in addition to asking if the respondent read any books over the past year, 

excluding books required for work or school, and if so, the number of books read. 

The 12 Local Surveys add separate questions about listening to readings of poetry or 

novels/books, either recorded or live. These differences complicate direct 

- 101 ­
12 Local Surveys of Arts Participation Summary Report 

comparisons of literature participation rates between the 12 Local Surveys and the 

1982 and 1985 National SPPA’s. 

Dance (other than Ballet) was added as a new category of participation on the 12 

Local Surveys and the 1992 SPPA. Comparative data is not available from the 1982 

and 1985 SPPA’s. 

3. Arts Participation through the Media 

The national SPPA’s use a series of questions to query arts participation through the 

media. For each of the core disciplines, respondents were asked about: 

(a) TV/VCR participation
 

Co) If yes, TV, VCR, or Both? (1992 version only)
 

Co) If yes, frequency of participation (1992 version only)
 

(c) Radio participation
 

(d) Audio media (record, tape, CD) participation. 

The 12 Local Surveys combine radio with other audio media and ask the questions in 

a different order. Therefore, data for arts participation through audio media 

(including radio) is not comparable between the 12 Local Studies and the national 

SPPA’s. 

With respect to dance participation through the media, the 1982 and 1985 SPPA’s 

asked only about Ballet participation on TV, whereas the 1992 SPPA and the 12 

Local Surveys combine all types of dance (i.e., "ballet, modern, folk, or tap"). 

Further, the 1992 SPPA (only) explicitly excludes music videos. 

Media participation questions on the 1982 and 1985 SPPA’s were included as a 

"rotating" module, and were not asked of all respondents. Conversely, media 

participation questions were asked of all respondents to the 1992 SPPA and the 12 

Local Surveys. 

Several other details: In the 1982 and 1985 SPPA’s, VCRs were not specified as an 

acceptable form of media participation. The SPPA question about watching 

musicals/operettas on TV instructs the respondent to exclude any movie versions, 

while the 12 Local Surveys do not contain this exclusion. The 1992 SPPA (only) 

also instructs respondents to exclude movies, situation comedies, and TV series for 

reporting TV/VCR participation for non-musical stage plays. 

Film Participation 

With respect to film participation, the National SPPA’s are simple and direct: 

"During the LAST 12 MONTHS did YOU go out to the movies?" (verbatim). Some 

respondents, however, may have included going out to a friends house to watch a 

movie (VCR), or a movie shown in a college dormitory or student union, etc. The 

12 Local Surveys add an exclusion: "Do not include movies you have watched on a 

VCR or at some other place other than a movie theatre." 

- 102 ­
12 Local Surveys of Arts Participation Summary Report 

5. Frequency of Attendance 

Data relating to the frequency of participation in the various disciplines is noncomparable across surveys. The 1982 and 1985 SPPA’s, after asking about 

participation over the past year, asked how many times the respondent had attended 

in the last month. Responses were coded as follows: 

1. None 

2. 1 time 

3. 2 or 3 times 

4. 4 or 5 times 

5. 6 or more times 

The 1992 SPPA and the 12 Local Surveys, however, ask respondents how many 

times they attended during the last 12 months, maintaining the same time frame (one 

year) as for the related participation question. Responses were open-ended, rather 

than categorized (any number was an acceptable answer). Thus, frequency of 

attendance data from the 1982 and 1985 SPPA’s is categorical and for the period of a 

month, while frequency of attendance data from the 1992 SPPA and the 12 Local 

Surveys is continuous and for the period of a year. 

6. T_ _vpes of Venues Attended 

The 12 Local Surveys asked all respondents who reported any attendance in a given 

discipline to identify the type of performance venue where they last attended. This 

process was repeated for each discipline. In contrast, one of the "rotating" modules 

of the 1982 and 1985 SPPA’s asked respondents to identify all venue types utilized 

over the past year, for all disciplines, in one question. The 1992 SPPA drops the 

subject altogether. Thus, data on facility utilization from the 12 Local Surveys are 

unique. 

7. Reasons for Not Attending More Often 

One of the rotating modules of the 1982 and 1985 SPPA’s was devoted to "barriers 

to participation". Separate questions were asked for each discipline, whereas the 12 

Local Surveys only ask about barriers to arts participation in general. The 1992 

SPPA drops the topic. The list of reasons for not attending more often is 

comparable, with the exception of ’cost’. The 12 Local Surveys distinguish between 

the cost of tickets and the overall cost of attending events, whereas the 1982 and 

1985 SPPA’s mention ’cost’ without further specification. 

In addition, several of the responses are different. ’Lack of Interest’ and ’Just don’t 

get around to it’ are included in the 12 Local Surveys, whereas ’Procrastination/Lack 

of Motivation’ is the most comparable response on the 1982 and 1985 SPPA forms. 

Also, Teel Uncomfortable’ is a coded response on the National but not the Local 

surveys. 

8. Interest in Attending More Often 

Different time frames surround these questions. Whereas the 1982 and 1985 SPPA’s 

ask what the respondent would like to do more often than what he or she has done 

- 103 ­
12 Local Surveys of Arts Participation Summary Report 

during the last 12 months, the 12 Local Surveys and the 1992 SPPA ask respondents 

what types of events they would like to attend ’more often than you do now’. 

This section addresses a limited number of survey design issues relevant to the 12 Local 

Studies. Numerous other design issues (esp. with regard to socialization, other leisure 

activities, etc.) are not treated here because they do not pertain to questions common to the 

12 Local Studies. 
12 Local Surveys of Arts Participation Summary Report 

E. Survey Form 

As noted in the report, each of the 12 survey instruments were different. In addition to "core 

questions" relating to arts participation and related topics, each survey also included other questions 

of special interest to the local sponsor. These questions covered a variety of topics, including: 

 ̄ awareness of local arts institutions 

 ̄ culturally-diverse programming 

 ̄ participation in other leisure activities 

 ̄ ticket purchasing behaviors 

 ̄ additional probing of barriers to attendance 

 ̄ additional probing of local media preferences 

 ̄ musical preferences 

 ̄ perceived need for new facilities 

 ̄ interest in continuing education programs 

 ̄ other topics 

Since the scope of this report is limited to data collected across all 12 sites, only the "Core 

Questionnaire" is reproduced here. Local survey instruments in their complete form may be obtained 

by writing the Research Office of the National Endowment for the Arts, 1100 Pennsylvania Ave., 

N.W., Washington DC, 20506 

- 105 ­
 

LOCAL SURVEYS OF PARTICIPATION IN THE ARTS 

Core Questionnaire 

The following questions are about your activities during the last 12 months--between 

1, 19__, and , 19__. 

With the exception of elementary or high school performances, did you go to a live jazz 

performance during the last 12 months? 

YES (ASK A-B) ....................... 1
 

NO (GO TO Q.2) ...................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 

B= In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house .....; .................................. 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility .......................7
 ...


Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................. 10
 

Park or other open-air facility ..........................11
 ..


Theater ........................................... 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) .............14
 ..


OTHER (SPECIFY) .... 96
 

With the exception of elementary or high school performances, did you go to a live 

classical music performance such as symphony, chamber, or choral music during the 

last 12 months? 

YES (ASK A-B) ....................... 1
 

NO (GO TO Q.3) ...................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 
In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house ........................................ 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ..........................
 7
 

Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................. 10
 

Park or other open-air facility ............................
 11
 

Theater ........................................... 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) ...............
 14
 

OTHER (SPECIFY) .... 96
 

o (With the exception of elementary or high school performances,) Did you go to a live 

opera during the last 12. months? 

YES (ASK A-B) ....................... 1
 

NO (GO TO Q.4) ...................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 

2
 
In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ...........................1
 ..


Civic center ...........’ ............................... 2
 

Coffee house ......................................... 3
 

College facility ....................................... 4
 

Concert hall, opera house ................................ 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ........................7
 ...


Library .....................................  ̄ ....... 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................... 10
 

Park or other open-air facility .............................
 11 

Theater ........................................... 12
 

Town hall, city hall .................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) ...............
 14
 

OTHER (SPECIFY) .... 96
 

(With the exception of elementary or high school performances,) Did you go to a live 

musical stage play or an operetta during the last 12 months? 

YES (ASK A-B) ........................ 1
 

NO (GO TO Q.5) ....................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 
ao	 In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house ........................................ 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ........................7
 ..


Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................. 10
 

Park or other open-air facility ............................
 11
 

Theater .......... ................................. 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) .............14
 ..


OTHER (SPECIFY) .... 96
 

o (With the exception of elementary or high school performances,) Did you go to a live 

performance of a non-musical stage play during the last 12 months? 

YES (ASK A-B) ....................... 1
 

NO (GO TO Q.6) ...................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 

4
 
ao	 In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house ........................................ 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ..........................
 7
 

Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................. 10
 

Park or other open-air facility ..........................11
 ..


Theater ......... , ................................. 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) ..............14
 ..


OTHER (SPECIFY) .... 96
 

(With the exception of elementary or high school performances,) Did you go to a live 

ballet performance during the last 12 months? 

YES (ASK A-B) ........................ 1
 

NO (GO TO Q.7) ....................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 
In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house ........................................ 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ..........................
 7
 

Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club .................................. 10
 

Park or other open-air facility ............................
 11
 

Theater ........................................... 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) ...............
 14
 

OTHER (SPECIFY) .... 96
 

(With the exception of elementary or high school performances,) Did you go to a live
 

dance performance other than ballet, such as modern, folk, or tap, during the last 12
 

months? 

YES (ASK A-B) ....................... 1
 

NO (GO TO Q.8) ...................... 2
 

A. About how many times did you do this during the last 12. months? 

NUMBER OF TIMES 

6
 
ao In what type of place or facility did you see this (most recent) performance? IF 

R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT 

BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN. 

Church, synagogue, mosque, other facility associated
 

with a religious organization ............................ 1
 

Civic center ......................................... 2
 

Coffee house ........................................ 3
 

College facility ....................................... 4
 

Concert hall, opera house ............................... 5
 

Dinner theater ....................................... 6
 

Elementary or high school facility ..........................
 7
 

Library ............................................ 8
 

Museum or art gallery .................................. 9
 

Nightclub/Jazz club coffee house .........................
 10
 

Park or other open-air facility ............................
 11
 

Theater ........................................... 12
 

Town hall, city hall ................................... 13
 

The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) ................
 14
 

OTHER (SPECIFY) .... 96
 

During the last 12. months, did you visit an art museum or gallery? 

YES (ASK A) ......................... 1
 

NO (GO TO Q.9) ....................... 2
 

A. About how many times did you do this during the last 12 months? 

NUMBER OF TIMES 

(During the last 12. months,) Did you visit an art fair or festival or craft fair or festival? = 

YES (ASK A) ......................... 1
 

NO (GO TO Q. 10) ..................... 2
 

A. How many times did you do this during the last 12 months? 

NUMBER OF TIMES 

10.	 (During the last 12 months,) Did you visit an historic park or monument or tour buildings 

or neighborhoods for their historic or design value? 

YES (ASK A) ........................ 1
 

NO (GO TOQ.11) ..................... 2
 

A. How many times did you do this during the last 12 months? 

NUMBER OF TIMES 

7
 
11.	 With the exception of books required for work or school, did you read any books during 

the last 12 months? 

YES (ASK A) ........................ 1
 

NO (GO TO Q. 1 2) .....................2
 

A. About how many books did you read during the last 12 months? 

Number of books 

12.	 (During the last 12 months,) Did you read any... 

YES N._~_O 

Plays? .................. 1 2
 

Poetry? ................. 1 2
 

Novels or short stories? ...... 1 2
 

13.	 (During the last 12. months,l Did you listen to: 

YES NO 

A reading of poetry, either live or recorded? ............1
 

A reading of novels or books, either live or recorded? ...... 1
 

8
 
14. During the last 1 2 months, have you watched any of the following on television or video 

(VCR) tape? 

A. How many times 

Watched in did you do this 

Type of Performance past 12 months? in past 12 months? 

A jazz performance?	 YES ..... 1 = TIMES
 

NO ..... 2
 

A classical music YES ..... 1 = TIMES
 

performance? NO ..... 2
 

An opera?	 YES ..... 1 = TIMES
 

NO ..... 2
 

A musical stage play YES ..... 1 = TIMES
 

or operetta? NO ..... 2
 

A nonmusical stage play?	 YES ..... 1 = TIMES
 

NO ..... 2
 

A dance performance, such as YES ..... 1 = TIMES
 

ballet, modern, folk, or tap? NO ..... 2
 

A program about artists, art YES ..... 1 = TIMES
 

works, or art museums? NO ..... 2
 

1 5.	 During the past 1 2 months, did you listen to any of the following types of performances 

on the radio, on records, tapes, or compact discs? 

Type of Performance 

Jazz?	 YES ..... 1
 

NO ..... 2
 

Classical music?	 YES ..... 1
 

NO ..... 2
 

Opera music?	 YES ..... 1
 

NO ..... 2
 

A musical stage play YES ..... 1
 

or an operetta? NO ..... 2
 

A nonmusical stage play?	 YES ..... 1
 

NO ..... 2
 

9 
16.	 (During the last 12 months), have you gone out to a movie theater to see a movie? 

(Do not include movies you have watched on a VCR or at some other place other than 

a movie theater.) 

YES .... 1
 

NO ..... 2
 

17.	 I’m going to read to you a list of arts events that some people like to attend. If you 

could go to any of these events as often as you wanted, which ones would you go to 

more often than you do now? I’ll read the list. Go to ... 

YES N._~_O 

Jazz music performances ......................1
 2


Classical music performances ...................1 2
 

Operas ................................... 1 2
 

Musical plays or operettas ......................1 2
 

Non-musical plays ........................... 1 2
 

Ballet performances .......................... 1 2
 

Dance performances other than ballet ..............1 2
 

Exhibits at art museums or galleries ...............1 2
 

IF ONLY ONE IS CHOSEN, SKIP TO NEXT ITEM. 

IF MORE THAN ONE IS CHOSEN, ASK A: 

A.	 Which of these would you like to do most? 

I’ve just mentioned many different types of arts activities. 

18.	 In general, would you like to attend cultural and artistic events more often than you 

have in the past 1 2 months? 

YES (ASK A) .............................. 1
 

NO (GO TO Q.19) .......................... 2
 

10
 
 

A=	 What are the reasons that you did not attend these types of events (more often)? 

PROBE: Are there other reasons? RECORD VERBATIM AND CODE AT END OF 

INTERVIEW. 

ao How about (ITEM)? IF NEEDED: Was this a reason you did not attend arts events 

(more often)? 

READ ITEM ONLY IF NOT MENTIONED IN "A". 

1.	 Was the cost of tickets a reason you did not attend Yes 1
 

more often? No 2
 

The distance or travel time to events or inconvenient Yes 1
 

location of events? 	 No 2
 

3.	 The quality of the performances? Yes 1
 

No 2
 

4.	 Lack of transportation or parking problems? Yes . 1
 

No 2
 

5.	 Not having enough time to attend? Yes . 1
 

No 2
 

6.	 Safety or fear of crime in the area where an event Yes . 1
 

was held? No 2
 

Cg IF MORE THAN ONE REASON: Of the reasons you just mentioned, which is the 

most important? 

19.	 In general, how important is it to you to be able to attend or to take part in arts 

activities and events? Would you say it is... 

very important ....................... 1
 

somewhat important ................... 2
 

not at all important? ................... 3
 

11
 
20.	 In your opinion, how important is it to offer activities such as music, dance, theater, and 

art in the schools? Would you say that it is... 

very important ....................... 1
 

somewhat important ................... 2
 

not at all important? ................... 3
 

21.	 How do you learn or find out about arts events in your community? CIRCLE ALL THAT 

APPLY. PROBE: In what other ways do you find out about events? 

NEWSPAPER(S) (ASK A-D) ..................... 1
 

WORD OF MOUTH .......................... 2
 

FRIENDS, RELATIVES, OTHER INDIVIDUALS ........3
 .

MAILED ANNOUNCEMENT, FLYER, BROCHURE ......4
 

POSTERS/NOTICES IN PUBLIC AREAS ............. 5
 

TELEVISION (ASK E,F) ........................ 6
 

RADIO (ASK G) ............................. 7
 

MAGAZINE (ASK H) .......................... 8
 

SCHOOL NOTICES ........................... 9
 

TELEMARKETING/TELEPHONE SOLICITATION ...... 1 0
 

OTHER (SPECIFY) ........ 1 1
 

NONE/DO NOT GET INFORMATION ABOUT
 

ARTS EVENTS (GO TO !3.22) ..................00
 

Ao Which newspaper(s)? 

In general, how many days each week do you read a newspaper? 

DAYS/WEEK 

Co Do you usually read the Sunday paper? 

YES .............................. 1
 

NO ............................... 2
 

Do Which of the following sections do you read re,qularly?
 

(CIRCLE ALL THAT APPLY)
 

YES NO 

The front or "A" section ................I 2
 

Local news section ....................I 2
 

Business ........................... I 2
 

Sports ............................. 1 2
 

Living / entertainment/arts ...............1 2
 

Neighbors .......................... 1 2
 

12 
Eo Was that on cable TV, network TV, or both? 

CABLE ....................... I
 

NETWORK, .................... 2
 

BOTH ........................ 3
 

F° Which, if any, local news programs do you watch? 

NONE .......................	 O0
 

Go Which radio station? 

Which magazine(s)? 

22.	 In general, how would you rate the availability and adequacy of information about arts 

events in your area? Would you say that it is ... 

excellent ...................... 1
 

good ......................... 2
 

fair, or ........................ 3
 

poor? ........................ 4
 

13
 
What arts and cultural organizations are you familiar with or have you heard of in the 

South Florida area? These can be either large organizations, festivals, smaller or ethnic 

cultural groups, etc. INTERVIEWER: RECORD VERBATIM RESPONSES. 

PROBE: What other arts groups or organizations? 

Who most often selects the arts events you attend? (PROBE FOR ONE ANSWER.) t 

RESPONDENT .............................. 1
 

SPOUSE/PARTNER ........................... 2
 

OTHER FAMILY MEMBER ....................3
 ..

FRIEND(S) ................................. 4
 

JOINT DECISION OF THOSE INVOLVED ............5
 

NO CONSISTENT PAT-FERN ..................6
 ..

OTHER (SPECIFY) 7
 

NOT APPLICABLE--RESPONDENT DOES NOT A’I-FEND
 

ARTS EVENTS ............................. 8
 

Do you think that this area offers a reasonably good number of arts-related activities = that reflect the cultures of different ethnic groups? 

YES ......................... 1
 

NO .......................... 2
 

Are you interested in attending arts-related activities that reflect the cultures of different 

ethnic groups? 

YES ......................... 1
 

NO .......................... 2
 

o ASK ONLY IF PARTICIPATED IN AT LEAST ONE ART FORM (FROM QS. 1-7): 

In the past twelve months, have you been a subscription ticket holder for any 

performing arts organization? 

YES ......................... 1
 

NO .......................... 2
 

A= Do you think that a "sampler" ticket package that allows you to choose several 

different types of events is a good idea? 

YES ......................... 1
 

NO .......................... 2
 

14 
DEMOGRAPHIC ITEMS 

These next questions are for background purposes. 

Do you live in Florida year-round or for part of the year? 

YEAR-ROUND .................. 1
 

S.T.TI~.~ I PART OF YEAR ................2
 .

I~ L,y_~J OTHER (SPECIFY) 3
 

2. For how many years have you lived in Florida (either year-round or for part of the year)? 

]’T~/	 YEARS 

3. Including yourself, how many people live in your household? 

NUMBER IN HOUSEHOLD 

IF "1" ONLY, GO TO Q. 4. 

A.

So 

How many people in your household are 18 years old or older? 

NUMBER 

How old were you on your last birthday? 

YEARS 

Are you currently... 

married ................................... 1
 

widowed .................................. 2
 

separated ................................. 3
 

divorced, or ............................... 4
 

never married .............................. 5
 

°	 What is the highest grade of school or highest degree you have completed?(DO NOT 

READ CATEGORIES.) 

No school ................................ 1
 

Grades K-8 ............................... 2
 

Grades 9-1 1 .............................. 3
 

Completed high school (or GED) ................4
 .

Vocational school (after high school) .............

5
 

Some college or Associates Degree .............. 6
 

Bachelors Degree ........................... 7
 

Some graduate school ....................... 8
 

Graduate degree ........................... 9
 

Other (SPECIFY) 10
 

15
 
o Which of the following best describes your race or heritage? Do you consider yourself 

to be... 

White, non-Hispanic ............................. 1
 

Black or African-American .........................

2
 

Hispanic ...................................... 3
 

Caribbean islander (SPECIFY) 4
 

Central American (SPECIFY) 5
 

South American (SPECIFY) 6
 

Native American or Alaskan .......................7
 . Asian, Pacific Islander, Filipino, or ...................

8
 

Something else? (SPECIFY) 9
 

°	 Which of the following categories best describes your household’s total family income 

in 1991? 

Less than $10,000 ..............1
 

$10,000 to $14.999 ............2
 

$15,000 to $19,999 ............4
 

$20,000 to $29,999 ............5
 

$30,000 to $49,999 ............6
 

$50,000 to $74,999 ............7
 

$75,000 to $99,999 ............8
 

$100,000 or more ..............9
 

What is your zip code? 

ZIP CODE 

10. INTERVIEWER OBSERVATION: 

R is MALE .................... 1
 

R is FEMALE .................. 2
 

16
 
12 Local Surveys of Arts Participation Summary Report 

F. Bibliography: Public Participation in the Arts 

The following bibliography was prepared by the Research Division of the National 

Endowment for the Arts. 

Abreu, Dan; Friedman, Andrea; Logan, Catrina; Reinhart, Kay; and Ziff, Charles, Survey of Public 

Participation in the Arts: Musical Theatre. Operetta. and _Opera Attendees. National Endowment for 

the Arts, 1987 

Andreasen, Alan R., Expanding the Audience for the Performing Arts. National Endowment for the 

Arts and Seven Locks Press, Washington, DC 1991 

Andreasen, Alan R. and Belk, Russell W., "The Effect of Family Life Cycle on Arts Patronage," 

Journal of Cultural Economics. 6:2, pp. 25-35. 

Arts for America/NALAA, The Arts in Rural Areas. Washington, DC 1988. 

Balfe, Judith H. and Heine, Joni Cherbo, editors, Arts Education Beyond the Classroom. ACA 

Books, New York, 1988. 

Balfe, Judith H. "Social Mobility and Modern Art" Social Movements. Conflict and Change. Vol. 4 

(1981), pp 235-251. 

Bamossy, Gary, "Socializing Experiences as Predictors of Performing Arts Patronage Behavior," 

Journal of Cultural Economics. 6:2, pp. 37-43 

Baumol, William J. and Bowen, William G., Performing Arts: The Economic Dilemma. The 

Twentieth Century Fund, New York, 1966 

Blattberg, Robert C. and Broderick, Cynthia J., "Marketing of Art Museums" in Feldstein, Martin, 

The Economics of Art Museums. University of Chicago Press, Chicago, 1991, pp 327-346. 

Blatti, Jo, editor, Past Meets Present:Essays about Historic Interpretation and Public Audiences. 

Smithsonian Institution Press, Washington, DC 1987. 

Blau, Judith R. and Quets, Gail A., The Geography of Arts Participation: Report on the 1982 and 

1985 Survey of Public Participation in the Arts. National Endowment for the Arts 1987 

Cameron, S., "The Supply and Demand for Cinema Tickets: Some U.K. Evidence", Journal of 

Cultural Economics. 10:1, June 1986, pp 38-62. 

Cornwell, Tend Lynn, Democracy and the Arts: The Role of Participation. Praeger, New York, 1990. 

Cwi, David, "Changes in the U.S. Audience for the Arts," Govenments and Culture. ,~sociation of 

Cultural Economics 1984. pp. 32-42 

Cwi, David, "Market Segments for Theatre: Research to Increase Arts Participation," Economic 

Efficiency and the Performing Arts. Association of Cultural Economics 1986, pp. 150-158 
12 Local Surveys of Arts Participation Summary Report 

Cwi, David, editor, Research in the Arts: Proceedings of the Conference on Policy Related Studies of 

the National Endowment for the Arts. Waiters Gallery, Baltimore 1978 Section on Research on the 

Artisic and Cultural Consumers, pp. 10-34 includes the following articles: 

trend, Richard, "Developing Research on the Arts Consumer" 

Andreasen, Alan R. and Belk, Russell W., Consumer Response to Arts Offerings: A Study of 

Theatre and Symphony in Four Southern Cities" 

Peterson, George L. and Anas, Alex, "A Behavioral Approach for Assessing the Demands for 

Cultural and ArtisticRecreational Activities" 

Katzman, Natan, "How Broadcasters Assess the Response to Program Offerings" 

Cwi, David, "The Policy Uses of Audience Studies" 

Useem, Michael and DiMaggio, Paul, "A Critical Review of the Content, Quality and Use of 

Audience Studies" 

Dickenson, Victoria, "Museum Visitor Surveys: An Overview, 1930-1990", Cultural EconomiCs. 

Ruth Towse and Abdul Khakee, editors, Springer-Verlag, New York, 1992, pp 141-150. 

DiMaggio, Paul J.; Useem, Michael and Brown, Paula, The American Art Audience: Its Study and 

Its Character. National Endowment for the Arts 1977 

DiMaggio, Paul J., Audience Development: An Examination of Selected Analysis. and Prediction 

Techniques Applied to Symphony and Theatre Attendance in Four Southern Cil.ics, National 

Endowment for the Arts, 1978 

DiMaggio, Paul J.; Useem, Michael and Brown, Paula, "Audience Studies of the Performing Arts 

and Museums: A Critical Review," National Endowment for the Arts, 1978 

DiMaggio, Paul J. and Ostrower, Francie, Race Ethnici _ty and Participation in the Arts: Pat-terns of 

Participation by Hispanic, White and African-Americans in Selected Activities from the 1982 and 

1985 Surveys of Public Participation in ~h¢ Ar~s. Seven Lock Press, Washington, DC, 1992 

DiMaggio, Paul J. and Useem, Michael, "Cultural Democracy in a Period of Cultural Expansion: The 

Social Composition of Arts Audiences in the United States", Social Problems. Vol 26, 1978, pp 179­

97. 

Evrand, Yves, "The Determinants of Cultural Consumption," Artists and Cultural Consumer. 

Association of Cultural Economics, Akron, OH 1986 pp. 192-201 

Feldstein, Martin, editor, The Economics of Art Museums. University of Chicago Press, Chicago, 

1991, "The Museum and the Public", a panel discussion, Ch. 2, pp.35-60. 

Felton, Marianne Victorius, "Major Influences onthe Demand for Opera Tickets," Journal of Cultural 

Economics. 13:1 pp.53-64 

Felton, Marianne Victorius, "On The Assumed Inelasticity of Demand for the Performing Arts", 

Journal of Cultural Economics. 16:1, June 1992, pp 1-12. 

Fitzhugh, Lynne, "An Analysis of Audience Studies for the Performing Arts in America", Journal of 

Arts Management and Law. Part I: "The Audience Profile" is in 13:2, Summer 1983 pp 49-85; Part 

II: "Market Behavior" is in 13:3, Fall 1983, pp 5-31. 

- 107 ­
12 Local Surveys of Arts Participation Summary Report 

Gapinski, James H., "Economics, Demographics and Attendance at the Symphony," Journal of 

Cultural Economics. 5:2 pp. 79-83 

Gray, Charles M., "Subsidizing the Arts with Vouchers: A Case Study of the Twin Cities 

Metropolitan Arts Alliance," 1992 unpublished paper 

Harris, Louis, and Associates, Americans and the Arts: A Nationwide Survey of Public Opinion. 

periodic surveys, American Council for the Arts, New York, 1992, 1988, etc. 

Heilbrun, James, "The Distribution of Arts Activities Among U.S. Metropolitan Areas," Cultural 

Economics 88: An American Perspective. Association of Cultural Economics 1988 pp. 33-40 

Heilbrun, James, "Growth and Geographic Distribution on the Arts in the U.S.," Artists and Culmrdl 

Consumers. Association of Cultural Economics, Akron, OH 1986 pp. 24-35 

Hendon, Mary Ann; Richardson, James F. and Hendon, William S., Bach and the Box: The Impact 

of Television on the Live Ar~s. Journal of Cultural Economics, Special Supplement 1985 

Hendon, R. Claude, "A Comparative Study of Leisure Activities of the Elderly in the Community 

and in Nursing Homes," Cultural Economics 88: An American Perspective. Association of Cultural 

Economics, 1988 pp. 143-148 

Hendon, R. Claude, "Arts Participation: Comparing the Elderly and Non-Elderly," Journal of 

Cultural Economi¢~. 16:1, pp. 83-92 

Hoffman, Miles K. and Fritschner, Linda Made, "Arts and Art Audiences: Testing the Market", The 

Journal of Arts Management an~l Law. 14:2 Summer 1984. pp 5-19. 

Hood, Madlyn, "Staying Away: Why People Choose Not to Visit an Art Museum", Museum New~. 

April 1983, pp 50-57. 

Hood, Madlyn, "Getting Started in Audience Research", Museum NeW~. February, 1986, pp 25-31. 

Horowitz, Harold, The American Jazz Music Audience. National Jazz Service Organization, 

Washington, DC, 1986. 

Horowitz, Harold; Keegan, Carol and Kempnich, Barbara, "Cultural Participation and 

Geographic/Population Schema: From New York City to the Rural Farm," Artists and Cultural 

Consumers, 1986 pp. 36-50 

Hughes, Michael A. and Peterson, Richard A., "Isolating Cultural Choice patterns in the U.S. 

Population", American Behavioral Scientist. Vol 26, March/April 1983, pp 459-478. 

Johnson, Alton C. and Prieve, E. Arthur, Older Americans: The Unrealized Audience for the Arts. 

Center for Arts Administration, University of Wisconsin, Madison, 1975. 

Kangun, Norman; Otto, Gordon and Randall, Dana C., "Marketing Strategies for Bolstering 

Symphony Attendance among College Students", Journal of Cultural Economics. 16:1, June 1992, 

pp 25-40. 

- 108 ­
12 Local Surveys of Arts Participation Summary Report 

Katz, Jonathan and Sikes, Toni Fountain, editors, Consumer Behavior and the Ar~s, a special issue of 

The Journal of Arts Management an0 Law. 15:1, Spring 1985. (Entire issue) 

Keegan, Carol, Public Participation in Classical Ballet: A Special Analysis of the B~let Data 

Collected in the 1982 and 1985 Survey of Public Participation in the Arts, National Endowment for 

the Arts, 1987 

Kurabayashi, Yoshimasa and Ito, Takatoshi, "Socio-Economic Characteristics of Audiences for 

Western Classical Music in Japan: A Statistical Analysis", Cultural Economics. Ruth Towse and 

Abdul Khakee, editors, Springer-Verlag, New York, 1992, pp 275-287. 

McCain, Roger A., "Game Theory and Cultivation of Taste," Journal of Cultural Economics. 10:1, 

pp.l-16 

McCain, Roger A., "Reflections on the Cultivation of Taste," Journal of Cultural Economics. 3:1, pp. 

30-50 

McCaughey, C. A Survey of Arts Audience Studies: A Canadian Perspective, 1967 to 1984. 

Research and Evaluation, The Canada Council, Ottawa, 1984. 

Mitchel, Arnold, The Professional Performing Arts: Attendance Patterns. Perferences an~t Motives. 

Association of College, University and Community Arts Administrators Inc., Madison, Wisconsin 

1984 

Morison, Bradley G. and Fliehr, Kay, In Search of an Audience: How an Audience was fo0n~l for ~he 

T_vrone Guthrie Theatre. Pitman, New York 1968 

Morison, Bradley G. and Dalgleish, Julie Gordon, Waiting in the Wings. American 

Council for the Arts, New York 1987 

Morrison, William G. and West, Edwin G., "Child Exposure to the Performing Arts: The 

Implications for Adult Demand," Journal of Cultural Economigs. 10:1 pp. 17-23 

National Endowment for the Arts, A Sourcebook of Arts Statistics: !991 (1989. 1987). Washington 

DC, 1992, 1990, 1988. 

National Endowment for the Arts, Research Division, Surveying Your Arts Audience. Washington, 

DC, 1985. 

National Endowment for the Arts, Research Division, The Arts Public in the Sooth. Publishing 

Center for Cultural Resources, New York, 1984. 

National Endowment for the Arts, Research Division, Arts and Cultural Programs on Radio ~nd 

Television. Washington, DC 1977 

O’Hare, Michael, "Why Do People Go to Museums? The Effect of Prices and Hours on Museum 

Utilization", Museum. 27:3, pp 134-146. 

trend, Richard J., Leisure Participation in the South 1980: Volum¢~ I-II1. Human Resources 

Research Organization and National Endowment for the Arts, 1980 
12 Local Surveys of Arts Participation Summary Report 

trend, Richard J., Socialization and ParticipatiQn in the Arts. National Endowment tbr the Arts, 

Washington, DC, 1989 

Owen, Virginia Lee and Hendon, William S., editors, Managerial Economics for the Arts. 

Association of Cultural Economics, Akron, OH, 1985. Section on "Measuring Arts Participation", 

pp 181-206 includes the following articles: 

Horowitz, Harold, "Measuring Arts Participation in Canada and the United States" 

Kinsley, Brian L., "Cultural Activities Surveys - The Canadian Case" 

Robinson, John P., "Estimating the Public’s Exposure to and Expenditures on the Arts" 

Zuzanek, Jiri, Studies of Arts and Cultural Participation: Problems and Controversies" 

Pankratz, David B., "Arts Policy and Older Adults" The Journal of Arts Management and Law. 18:4, 

Winter 1989. pp. 13-64. 

Pankratz, David B. and Morals, Valerie B., editors, The Future of the Arts: Public Policy and Arts 

Research. Praeger, New York, 1990. "Part III: Social Trends and Research on Public Participation in 

the Arts" pp 63-187 includes the following articles: 

Cornwell, Terri Lynn, "Democracy and the Arts: The Role of Participation" 

Shuster, J. Mark Davidson, "Correlates of State Arts Support: The Geographic Distribution 

of Organizations, Artists, and Participation" 

DiMaggio, Paul J. and Ostrower, Francie, "Participation in the Arts by Black and White 

Americans" 

Meyersohn, Rolf, "Culture in the Bronx: Minority Participation in the Arts" 

Keller, Anthony S., "Arts Policy, Cultural Diversity, and the New Century" 

Pankratz, David B., "Arts Policy in an Aging Society" 

Also see extensive "Selected Bibliography", pp 289-310. 

Peterson, Richard A. "Patterns of Cultural Choice", Special issue, American Behavioral 

Vol 26, 1983. 

Pommerehne, Werner W. and Kirchgassner, Gebhard, "The Decline of Conventional Culture: The 

Impact of Television on the Demand for Cinema and Theatre Performances," Economic Efficiency 

and the Performing Arts, 1986 pp. 44-61 

Rau, William, "Does Education Lead to Fine Arts Appreciation," Artists and Cultural Con~mCr, 

Association of Cultural Economics 1986 pp. 284-286 

Reed, John Shelton and Marsden, Peter, Leisure Time Use in the South: SeconSary Analysis. 

National Endowment for the Arts 1980 

Robinson, John P. "Cultural Indicators from the Leisure Activity Survey", American Behavioral 

Scientist. Vol 26, 1983, pp 543-552. 

Robinson, John P.; Keegan, Carol A., and Triplett, Timothy A., Survey of Public Participation in 

Arts: 1985. Volume I Project Report. University of Maryland and National Endowment for the Arts, 

Washington, DC 1987. 

Scllliewen, Rolf E., A Leisure Study - Cana0a !975. Arts and Culture Branch, Department of the 

Secretary of State, 1977 

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12 Local Surveys of Arts Participation Summary Report 

Schuster, J. Mark Davidson, The Audience for American Ar~ Mus¢oms, Seven Locks Press, 

Washington, DC 1991 

Schuster, J. Mark Davidson; An Inquiry. into the Geographic Correlations of Government Ar~s 

F n_o_n_~[k~, National Endowment for the Arts, 1988 

Semenik, Richard and Bamossy, Gary "Methodological Issues in Arts Marketing Research", 

Managerial EconomiCs for the Arts. Virginia Lee Owen and William S. Hendon, editors, Association 

of Cultural Economics, Akron Ohio, 1985, pp 23-34. 

Vaughan, D. Roger, "Marketing: A Positive Approach to Managing Recreational Use of Sites in the 

Countryside", Managerial Economi~ for the Ar~s. Virginia Lee Owen and William S. Hendon, 

editors, Association of Cultural Economics, Akron Ohio, 1985, pp 143-150. 

Waterman, David; Schechter, Russell and Contractor, Nashir S., "Overcoming Barriers to the Live 

Arts: Can the Media Compensate?" Journal of Cultural Economi~s 15:2 pp. 19-40 

Waterman, David; Schechter, Russell and Contractor, Nashir S., Public Participation in the Arts via 

the Medi~. National Endowment for the Arts, 1987 

West, Jerry, Public Participation in the Arts: Demands anO Barriers National Endowment for the Arts 

1987 

Wyszomirski, Margaret Jane and Clubb, Pat, editors, The Cost of Culture: Patterns and Prospects of 

Private Arts Patronage. ACA Books, New York, 1989. 

Zill, Nicholas and Winglee, Marianne, Who Reads Literature? The Future of the United States as a 

Nation of Readers. Seven Locks Press, Washington, DC 1989 

Zuzanek, Jiri and Lee, Marlene, "Social Ecology of Arts Audiences", Journal of Cultural Economics. 

9:1, June 1985, pp 65-84. 

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