Mapping Victoria’s Culture Market T 58 Audience Atlas Victoria maps out in detail the profile of the culture market in Victoria, examining not only demographic composition, but also attitudes, motivations, and behaviour. Broken down by both artform and organisation, this report not only examines who is currently going to arts and culture events, it measures the lapsed and potential market to provide detailed audience insight. It helps you set realistic targets by identifying potential markets and partner organisations, providing powerful data for the sector. It supports a deeper understanding of your market using data that’s rich, practical, and powerful. This in-depth look at the Victorian culture market was commissioned by Arts Victoria. Using an online survey, distributed by an external panel company, Morris Hargreaves McIntyre sampled 3,841 adult respondents (aged 16 or over) who are in the market for art and culture. This data was then used to analyse the overall profile of the culture market for Victoria, as well as breaking this down by artform and venue.
The Victorian market spends $5.1 billion per year on culture The culture market in Victoria spends an average Predicted future spend by Victoria’s culture market 17% of the culture market don’t know Asked about their future expenditure on arts and culture, nearly half of the Victorian culture market (47%) expected their expenditure would stay the same, with 19% anticipating it would increase. of $104.55 per person each month on cultural activities. Nearly half (48%) of this is on admission tickets, and nearly a quarter (24%) on food and drinks purchased at cultural events or places. In total, this equates to $421.5 million spent on arts, culture and heritage each month, or $5.1 billion each year. how spend will change in the next 12 months 17% 19% of the culture market are likely to spend less on arts and culture in the next 12 months 19% Victoria’s support for the arts Support for the arts is seen in a number of ways. In addition to transactional expenditure, support is also seen in activities such as membership and giving money and time. 1.3 million are likely to volunteer their time to Average monthly cultural spend 17% 17% of the culture Predicted future spend 47% 47% of the culture market are likely to spend the same an arts, cultural or heritage in the future Nearly a fifth of the Victorian culture market have volunteered their time to help an arts, cultural or heritage organisation (17%). to predict their behaviour in the future, 10% of the culture market reported being very likely to volunteer their time, with a further 22% reporting that it would be quite likely. This equates to 1.3 million people in Victoria who are likely market are likely to spend more on arts and culture in the next 12 amount on arts and culture in the next 12 months [Base 3841]
2.4 million donate money to the arts 60% of the Victorian culture market donate money to the arts, with 9% doing so on a regular basis and over a quarter Donation behaviour of the culture market in Victoria By standing order 2% of the culture market donate by standing order Never Always 7% of the culture market donate money every time they visit a gallery, museum, exhibition or heritage site (26%) on a more sporadic basis. In addition to donating during visits to galleries, museums, exhibitions or heritage sites, people also reported donating to the arts in other ways. Specifically: 18% donate to the arts through fundraising events 5% donate to the arts in response to fundraising letters and emails 42% never donate money to arts and culture Rarely 25% rarely donate money when they a or heritage site 42% How do you donate to arts and culture? Sometimes 26% sometimes donate money when they visit a gallery, museum, exhibition or heritage site [Base 3841] 4% donate to the arts through crowdfunding or microfunding initiatives, usually online through sites like Pozible, Kickstarter and Kiva 1.8 million are members of an arts or culture organisation Nearly half of the Victorian culture market (44%) are members of an arts or culture organisation. 37% are members of local library 6% are members of state or national library 5% are members of a museum 5% are members of a theatre or theatre company 4% are members of an art gallery
Past volunteer behaviour and likeliness to volunteer in the future Total Ballarat & Latrobe & & Hume South West & Geelong average – Inner – Inner East & Inner South – North East & Outer East – South East & Peninsula Melbourne – North West & West Have volunteered in the past 12 months 6% 7% 5% 7% 12% 7% 6% 10% 6% 5% 4% 5% Have volunteered but not in the past 12 months 11% 13% 17% 12% 9% 10% 10% 13% 9% 10% 8% 10% Haven’t volunteered 83% 80% 78% 80% 79% 83% 84% 76% 85% 85% 89% 85% Very likely to volunteer in the future 10% 9% 6% 7% 12% 11% 10% 15% 8% 9% 10% 9% Quite likely to volunteer in the future 22% 21% 24% 21% 19% 19% 22% 26% 24% 21% 21% 20% Not very likely to volunteer in the future 39% 39% 41% 37% 40% 38% 38% 38% 39% 36% 38% 40% Not at all likely to volunteer in the future 30% 31% 29% 35% 28% 32% 29% 22% 28% 33% 32% 31% they didn’t know. Other parts of the city had a pattern more like the rest of the State, with 23% of those in Melbourne South East and the Mornington Peninsula anticipating spending less compared with just 13% spending more. A higher level of volunteering outside of Melbourne Volunteering for arts or cultural organisations was highest outside Melbourne, with 20% of regional residents having volunteered at some time in the past compared with 16% in the State capital. Despite this, Melbourne Inner had the highest proportion of volunteers, with 24% having done so at some time in the past. Melbourne Inner also had one of the highest proportions of people who had volunteered in the past 12 months (10%) and the highest proportion of people who were very likely to volunteer in the future (15%). e
Culture is a hugely important part of life for members of the Essence segment. They are the most highly culturally engaged segments and invest the most in actively pursuing their eclectic tastes. Culture is something they can experience with or without others. Rather than simply being a social activity or a form of entertainment, their cultural consumption is a source of self-fulfilment and change; a means for experiencing life. They are inner-directed, sophisticated and confident. What other people think is of little importance and they actively avoid the mainstream. Cultural behaviour Consumption and creation in the past 12 months More likely to have visited or done Art galleries Museums Independent Public libraries Live music events Artform attendance in Victoria Essence’s appetite for culture is highlighted in their artform attendance. More active than average across all artforms, their engagement with visual and performing arts is particularly noticeable. Average annual spend Average monthly cultural spend $73.37 on admission / tickets Theatre The coast or seaside Interesting cities Bought a novel / book Played an instrument Created visual arts Written poetry or prose Blockbuster or Hollywood films Theme parks Adventure sport Experimental theatre Opera or operetta Less likely to have visited or done $33.95 $32.91 $12.55 on food and drink on transport to the event on souvenirs or programmes 0
Essence are the most likely of all segments to have visited one or more venues or organisations in the past three years Highlighting their adventurous Melbourne 1 in 4 Essence have volunteered at a cultural organisation in the past Essence are significantly more likely to have volunteered time or financial support than average and they are side, and for quality visual and performing arts, Essence are significantly more likely than average to have recently visited La M seum 53% Arts Centre Melbourne one of the most open to doing so in the future. Compared to most other segments they donate money relatively frequently – over 1 in 10 do this regularly. 24% 11% Mama, Australian Centre for Contemporary Art (ACCA) and, although the majority have yet to visit, they express particular interest in organisations such as Geelong Performing Arts Centre, Theatre Works, Wangaratta Jazz Festival and the of Old and New Art in Never 31% money? Regularly 37% Sometimes members of at least Have arts / cultural / heritage membership
Members of the Expression segment actively pursue life and place high value on their free time. Their openness to different experiences, cultures and new ideas means that their cultural consumption is broad and frequent – making them one of the most highly culturally-active segments. Arts and culture are key elements of their lifestyle; a means of self-expression, a way of connecting with other like-minded individuals and fulfilling their need for a sense of community. Their cultural engagement meets a wide range of needs from creative inspiration through to pure entertainment. Average annual spend Cultural behaviour Consumption and creation in the past 12 months More likely to have visited or done All music events Museum Musicals Independent film Coast and seaside exhibition Experimental Theatre Pantomime Less likely to have visited Artform attendance Expression’s broad cultural consumption is reflected in their artform attendance which is significantly above average across all artforms. Highlighting their appetite for creativity, Expression is the segment most likely to be in the current market for commercial theatre, libraries, dance, and literature. $69.01 on admission / tickets $36.98 $32.05 $19.03 on food and drink on transport to the event on souvenirs or programmes multi-
Affirmation have slightly above average awareness of, and engagement with, the major cultural organisations within the State, but their preference for more mainstream activities Around 1 in 6 Affirmation have donated time to arts or cultural organisations Affirmation’s propensity to volunteer time in support of arts and culture is around the State average. Similarly willingness to offer financial support is around average, although in reality (in terms of frequency) they rarely do this. 6% at some organisations, which may be deemed as more experimental, such as the Malthouse Theatre or those ‘off the beaten track’ such as Art Gallery of 37% Donate money? Regularly likely to have visited three of Victoria’s most prominent organisations in the past three years: Melbourne Museum, State Library of Victoria and members of at least 54% Have arts / cultural / Are members of wildlife or conservation charity / organisation Theat 19%
65% have ever engaged with cultural content online Enrichment are not particularly technologically-savvy; their internet usage tends to be functional, rather than to seek inspiration or entertainment. Although, a slight majority use social media sites (56%), they’re one of the segments least likely to do so and they tend to spend less time using social media. When it comes to using the Internet, for cultural consumption, their usage is dominated by sourcing practical planning information for a trip; they express little interest in extending a visit online, discussing trips or downloading or uploading related content. They are unlikely to become online ambassadors for any organisation and tend to prefer to access information from traditional sources. 83% are likely to spend time reading online or offline newspapers or magazines within a typical week Just under half of Enrichment read a regional paper in a typical week – the highest proportion of the segments. They are most likely to read local free papers. Meanwhile their readership of broadsheet titles is significantly lower than average and they are not particularly interested in keeping up with current affairs. Marketing should focus on... Regional None Most likely to see an article or advert in... Herald Sun Sunday Herald Sun The Age Free regional or local papers
Arts attendance is driven by their thirst for new experiences Artform attendance ‘Live action’ is highly appealing to Stimulation, judging by their engagement with different artforms; they are one of the segments most This segment wants to live a varied, entertaining life of novelty and challenge. Stimulation are opinion-makers rather than followers. Their keen sense of adventure, appreciation of innovation and a desire to stand out from the crowd means that they are constantly on the lookout for new experiences. Their cultural consumption reflects this – revealing a broad range of interests and a segment that is prepared to take risks. Their main reasons for attending arts events and activities tend to focus on opportunities to socialise and to ensure that they remain the ones Cultural behaviour Consumption and creation in the past 12 months More likely to have visited or done Art gallery Museum Rock and pop music festival Live events Play/drama likely to have engaged with festivals and theatre in the past three years. That is not to the expense of museums and visual arts which also feature highly in their consumption. of 30 out of 60 venues tested on average Visited 16 of the tested venues / organisations in their lifetime 9 of the tested venues / organisations in the past three years on average ‘in the know’ amongst their peer group. Average monthly cultural spend $58.79 on admission/tickets $28.23 on food and drink Independent film Coast and seaside Adventure sport Dance Less likely to have visited or done Dance Multi- art 10% / 7% / 10% Recent (past 12 months) Ever $20.24 on transport to the 15.3 average annual frequency of
The Release segment is preoccupied with meeting life’s demands and seeks opportunities for relaxation, entertainment and socialising in their leisure time. They need to be encouraged to view the arts as a social activity and another means of taking time out from their stressful and busy lives; currently they do not perceive they can get this from engaging with arts and culture and therefore look elsewhere. Cultural behaviour Consumption and creation in the past 12 months More likely to have visited or Artform attendance Release’s relatively low cultural engagement is highlighted by the fact that they are significantly less likely than average to have engaged with all artforms. Their tendency to default to mainstream cultural activities is also highlighted in their artform consumption and venue engagement. Aware of 23 out of 60 venues tested on average Visited 11 of the tested venues / organisations in their lifetime 6 of the tested venues / organisations in the past three years on average Their spend and engagement with culture is relatively low and they may feel ‘out of the loop’ when it comes to the arts. Consequently they will often opt for relatively low-risk activities – time is precious and they want a guaranteed return on their engagement. done Rock and pop music events Blockbuster and Hollywood films Theme parks Zoos and safari parks Animal sanctuaries and films Ballet and classical Museums theatre Music Library 32% 43% 79% nature reserves dance Parks and gardens Visual arts 19% 37% Average annual spend $700 Scenic countryside Less likely to 23% 8% 38% Average monthly cultural spend $28.14 on admission/tickets $15.94 on food and drink on have visited or done
The Perspective segment has an optimistic outlook, they are inner-directed and prioritise their own needs above others. They tend to gravitate to a limited ‘days out’ focus in their leisure time, based around a small number of interests that have become habitual over time. Perspective don’t see the arts as essential; culture for them is not part of their identity. Nevertheless they do see cultural activities as opportunities to broaden their horizons or pursue particular interests they may have. Cultural behaviour Consumption and creation in the past 12 months More likely to have visited or done Coast and seaside Picturesque towns and cities Scenic countryside Public libraries Artform attendance Perspective is one of the least culturally-active segments and their behaviour is dominated by more mainstream activities such as visiting museums – just under half have done this in the Average annual spend $700 Average monthly cultural spend $30.19 on admission/tickets $11.80 on food and drink Art gallery Museum Music events Experimental theatre Less likely to have visited or done $4.43 on transport to the event on souvenirs or programmes 5
Perspective have around average, or lower, levels of awareness of the Around 1 in 12 Perspective have donated time to arts or cultural organisations Perspective are one of the segments least likely to have donated time to an arts organisation and the majority say they are not open to donating time in the future. They are infrequent givers of money and 59% have never donated anything to an arts or cultural better informed on venues offer; more contemporary organisations are less likely Like the other segments, Melbourne Museum was the venue that the highest proportion of Perspective had visited in the past three years, This is unsurprising as museums have a broad their are one of the tat Library of Victor a 17% Her Majesty’s Theat 59% Never Regularly 20% one organisation Have arts / cultural / heritage membership Are members of wildlife or visited Arts Centre Melbourne, State Library of Victoria and Are not members
Entertainment are the least likely of all segments to have visited one or more venues or organisations in the past 3 years Entertainment are the least aware of the cultural offer throughout the State. They were the segment least likely to have visited any of 1 in 100 Entertainment have donated time to arts or cultural organisations Entertainment offer venues very little potential in terms of financial support or volunteering; the majority are unlikely to do either. Museum was the venue that they were most likely to have visited although only 1 in have done this in the past three years. top ten most visited venues reveals their preference for popular, mainstream events with the Sidney Myer Music Bowl and Comedy Theatre both present – venues that are absent from the most other segments’ ‘top tens’. members of at least Have arts / cultural / proportion of any segment Are members of wildlife or conservation charity / organisation Are not members 29%
3 million are in the dance market Overall, 75% of the culture market in Victoria can be considered part of the dance market, representing 3 million people. Classical dance or ballet is the most popular form of dance within the cultural market, however there is a significant amount of crossover between the different dance forms. Essence and Expression dominate the dance market. This may explain why adults within this market tend to be extremely culturally active and have a significantly higher than average cultural spend. Half of the culture market have ever been to a dance event or performance 75% of the culture market can be considered to belong to the dance market, while 25% of the culture market can be considered to be in the current market for dance. Just over half of the current dance market have been to a dance performance within the past 12 months (52%). Dance market penetration 13% 25% 12% The potential market for dance is significant, representing approximately a quarter of the cultural market (27%). 13% visited in the past 12 months 12% visited 1–3 years ago 24% visited 3+ years ago 27% never been and interested 25% never been and not interested 27% 24% Base [3841]
Classical dance has the highest penetration Classical dance has a slightly larger market compared to the other two dance forms. 66% of the cultural market are considered to be part of the classical market, in comparison to the 63% that belong to the contemporary dance market or 65% that are part of the other live dance market. Whilst having the largest market penetration, classical dance actually has the smallest potential market (27%). Significant crossover 36% of the current dance market are in the current market for all three dance forms 19% of the current market are in the current contemporary / live other dance market 23% of the current dance market are only in the current classical / ballet dance market There is significant crossover between the different dance forms, especially within the current market. 73% of the current dance market attended Penetration by form Base [3841] performances of at two of the dance forms, suggesting that the majority of the dance market have quite diverse tastes and do not restrict themselves to one specific form of dance. However, 27% of the current dance market have attended only one type of dance show, with the majority having only gone to see a ballet / classical performance (24%) suggesting there is less crossover between this type of dance and the others. Visited within the past 12 months Visited 1–3 years ago Visited 3+ years ago Never been and interested Never been and not interested
Culture Segment profile of the adults that have ever attended classical, contemporary and other live dance The Culture Segment profile of the different dance forms is very similar 2% 5% 7% 18% 2% 5% 7% 18% Considering the amount of crossover between the three different dance forms, it is unsurprising that the Culture Segment profile of adults that have ever attended performance for these art forms is extremely similar. One of the key differences by form is that 17% Dance ever market 17% Classical / ballet 16% Essence classical / ballet attracts an average proportion of Enrichment, whilst there was a significantly lower proportion of Enrichment than average that had ever attended contemporary and other live other dance. 2% 8% 18% Base [1868] Base [1506] 19% Affirmation Enrichment Stimulation Release Perspective dance 4% 30% 18% Base [1172]
Penetration of dance companies into the market of adults that have ever attended a dance performance Considering how culturally active the dance ever and current market is, it’s not surprising that they have above average monthly cultural spend. The Australian Ballet company has the highest awareness and penetration into the dance market 75% of the ever dance market are aware of The Australian Ballet 9% are aware of Chunky Move 2% are of Lucy Guerin Inc The Australian Ballet enjoys the highest level of awareness within the dance market (adults that had ever attended a dance performance), whilst only a very small proportion of the dance market were aware of Chunky Move or Lucy Guerin Inc. As expected, The Australian Ballet has the highest level of market penetration; 40% of the ever dance market have ever seen a performance and a further 22% can be considered to be in the potential market. The Australian Ballet Chunky Move Lucy Guerin Inc 3% of the dance market have either attended a Lucy Guerin performance, or were interested in attending in the future. Chunky Move has a slightly larger share of the 2% 1% 1% 1% 1% Base [1868]
3.5 million are in the festival market Overall, 88% of the culture market is in the festival market, representing 3.2 million people. Given the nature of this market, incorporating a variety and depth of events across a number of different artforms, it is not surprising that this artform is particularly attractive to the more culturally-active segments – Essence, Expression, Stimulation and Affirmation. The current festivals market Festivals have one of the largest lapsed markets The market for festivals is large, with 88% of the culture market having either been or are interested in attending. Interestingly, the proportion who haven’t been but are interested is only 8%, meaning that most of those in the market for festivals have attended before. Festival market penetration 12% Compared to other artforms, festivals has the largest lapsed market (32%) suggesting that organisations would benefit from targeting those individuals who have become inactive. 28% visited in the past 12 months spends around 78% more than average, with the most significant differences in spend seen for food and drink and transport. 8% 20% 20% visited 1-3 years ago 32% visited 3+ years ago 8% never been and interested 12% never been
Culture Segment profile of adults who have ever attended a festival compared to the profile of the culture market The festival ever market similar to the culture market Percentage point difference between the market of adults that have ever attended a festival and the culture market Essence the nature of festivals (events with a diverse range of events attempting to cater to a wide audience within an area of interest) and the size of the market itself, it’s unsurprising that the festivals ever market looks similar to the culture market in general. Festivals attract a slightly higher proportion of three of the more segments – Expression, Essence and Affirmation – and a lower proportion of Base [3089] -1 -1 -1 -1 +1 +1 Enrichment Stimulation Release Perspective Expression and Essence are prominent in the current market Of those who have attended a festival in the past three years, Essence and Expression feature strongly, making up 17% and 25% of the current market respectively, which is 4 percentage points higher than the culture market overall for both segments. As both these segments enjoy communal experiences and are open to a wide range of artforms, festivals are a good fit for them culturally. The proportion of less culturally-active segments (Enrichment, Release, Perspective and Entertainment) is low in both the current and ever market for festivals. Attracting the potential market will help diversify festivals’ Culture Segment profile The Culture Segment profile of the potential festivals market is significantly different to the current and lapsed markets for festivals, which are broadly distributed in a similar manner to the culture market overall. Of those who are interested
3.8 million are in the libraries market Overall 95% of the culture market in Victoria can be considered to be part of the public libraries market, representing 3.8 million people. The recent market for libraries is substantial, with over half of the cultural market visiting a library within the past 12 months. The Culture Segment profile of those who have ever been to a public library is very similar to the culture market overall, with only Expression and Affirmation very slightly over-represented. Public libraries have a very large recent market 95% of the culture market can be considered to belong to the public library market. This includes 4% of the culture market who have never been to a public library, but would be interested in doing so in the future. Library market penetration 4% 5% 20% 56% 15% 71% of the culture market are in the current market for public libraries, and of this current market, almost four in five are very recent visitors having been to a public library within the past 12 months (79%). The lapsed market for public libraries is significant, and represents a fifth of the culture market (20%). The potential market is much smaller, at only 4% of the culture market. 56% visited in the past 12 months 15% visited 1–3 ago 20% visited 3+ years ago 4% never been and interested 5% never been and not interested
million are in the live market Overall 95% of the culture market in Victoria can be considered to be part of the live market, representing 3.8 million people. has one of the largest markets overall as 86% of the culture market have ever attended a live music performance. As the current and lapsed music market is so large, this art form has a smaller potential market. The Culture Segment profile of those who have ever been to see live music is very similar to the culture market overall, but there are some differences between the Culture Segment profiles of different music genres. The live music market is huge Live music has one of the largest markets overall (95%), and is similar in size to the library market. 86% of the culture market have ever been to see live music, and 64% of the culture market are in the current market for live music, having been to a performance in the last three years. The lapsed market for live music is substantial, representing just over a fifth of the culture market Music market penetration 5% 9% 22% 41% (22%). The potential market is considerably smaller as such a high proportion of the market is either in the current or lapsed market (9%). 41% visited in the past 12 months 23% visited 1–3 ago 22% visited 3+ years ago 9% never been and interested 5% never been and not interested
Culture Segment profiles of the current, lapsed and potential market for opera events 7% 6% 14% 8% 6% 10% 5% 10% 11% Higher proportion of Affirmation in the potential market of all three music genres There is a significantly higher of 21% Current pop and rock 26% 10% 15% Lapsed pop and rock 17% 14% Potential pop and rock market 9% 20% Affirmation within the rock and pop (21%), Base [648] Base [759] Base [1036] 3% classical (20%) and opera (22%) potential markets, suggesting that this segment have a greater interest in engaging with more live music generally. Whilst Affirmation are 5% 7% 18% 2% 8% 8% 3% 7% 10% 13% culturally interested, they tend to be quite an aspirational segment and are sometimes slow to act on their interests. They often have more mainstream tastes and can be quite risk averse, so need to be reassured that an 5% 15% Current market 11% 17% classical market 8% 20% programming, work and is worth their trust. Base [806] Base [798] Base [981] is also a significantly higher proportion of Stimulation within the potential market for classical music (18%), with an even higher 18% 3% 1% 6% 2% 7% 6% 2% 6% 11% 14% proportion of this segment within the opera potential market (19%). In contrast to Affirmation, Stimulation are very open to risk and look for ways to break the Current opera market a a 4
Penetration of museums into the market of adults that have ever attended a museum Melbourne Museum has the highest levels of awareness and penetration in the museum market 90% of the ever museum market were of Melbourne Museum 86% were aware of Sovereign Hill Gold Museum 85% were aware of Scienceworks 67% were aware of Immigration museum 65% were aware of the National Sports Museum 53% were of the Australian Centre for the Moving Image 17% were aware of Koorie Trust 2% 2%
Looking at individual venues, 90% of the museum market have of Melbourne Museum, and 79% have ever visited. This makes Melbourne Museum the organisation with the greatest awareness and penetration – not only within the museum market, but within the cultural market as a whole. The market penetration of Scienceworks and Sovereign Hill Gold Museum, on the hand - high awareness with a much larger lapesed market than current market - reflects the nature of visitor profile. As both these venues cater primarily to families, it is expected that retention rates for these venues will be low. have issues with retention, as evidenced by the larger size of their lapsed markets compared to their current markets. This is unsurprising, however, given the nature of their market. Because they cater largely to families, it is expected that retention rates for this venue would be low. The Immigration Museum and the National Sports Museum, on the other hand, have smaller current and lapsed markets compared to their potential market, with over quarter of the museum market not having attended either but are interested in doing so. Finally, the greatest avenue for growth for the Australian Centre for the Moving Image (ACMI) is through increasing awareness, as their retention rates are higher compared to other museum venues, but this is partially due to lower levels of awareness.
million are in the theatre market Overall, 89% of the culture market in Victoria can be considered to be part of the theatre market, representing 3.6 million people. Theatre has large current market, with just under half of the culture market having attended a play within the past three years. The Culture Segment profile of those who have ever been to a play is very similar to the culture market overall, with a higher proportion of the more culturally interested segments, Expression, Affirmation, Essence and Stimulation. Theatre has a large current market The market for theatre is large, comprised of nine in ten people in the culture market (89%). Breaking this down, nearly of the culture market have ever been to a play (74%), while nearly half have been in the past three years (47%), with a quarter having been in the past 12 Theatre market penetration 11% 25% 14% months. The potential market for play / drama is significant, representing 14% of the cultural market. 25% visited in the past 12 months 22% visited 1–3 years ago 27% visited 3+ years ago 14% been and interested 11% never been and not interested 27% 22% quarters
Culture Segment profile of the adults that are in the current, lapsed and potential market for theatre Expression make up over a fifth of the potential theatre market The potential market contains more Release (15%) and less Essence (8%) than the culture market as a whole. While showing potential, Release is less culturally active overall, and would require focused marketing to attract and convert them. Theatre visitors are more culturally active and spend considerably more than the culture market average Adults in the current theatre market are far more likely than average to have engaged with the other 3% Base [1807] Base [1042] Base [552] Essence Expression Affirmation Enrichment Stimulation Release Perspective Entertainment Average monthly cultural spend types of artform tested: 82% of the current theatre market are also in the current visual arts market (average 65%) 73% of the current theatre are also in the market for musical / cabaret (average 43%) 60% of the current theatre market are also in the current market for comedy (average 41%) In comparison, the lapsed and potential theatre markets are less likely to be culturally active, with a much lower proportion of both these markets also in the current market for museums or visual arts. This suggests that their non-attendance is connected to not attending cultural venues in general, rather than specific to their interest in attending theatre. Those who have ever attended a play do not show much of a difference in average monthly cultural spend when compared to the culture market average. However, when at the spend of the visitors spend 45% more on admission and tickets, 40% more on transport, 37% more on souvenirs and programs, and 35% more on food and drink than the culture market average. Cultural Current play Ever play
million are in the visual arts market Overall, 91% of the culture market in Victoria can be considered to be part of the visual arts market, representing 3.7 million people. The visual arts market is significant, over four in five of the culture market has been to a gallery or exhibition in the past. There is a much smaller proportion of Entertainment in the visual arts market, however, this is supplemented by a slightly higher proportion of the more culturally interested segments, Essence, Expression, Affirmation and Stimulation. Nine in ten of the culture market are in the visual arts market 91% of the culture market are in the visual arts market. That is, they have been to, or are interested in visiting, an art gallery or exhibition. 65% of the culture market are in the current visual arts market, and the majority of in the current market have engaged very recently by visiting an art gallery or exhibition within the Visual art market penetration 9% 7% 40% 19% past 12 months (40%). The lapsed market for art galleries or exhibitions is significant, representing a fifth of the culture market (19%). 40% visited in the past 12 months 25% visited 1–3 years ago 19% visited 3+ ago 7% never been and interested 9% never been and not interested
segments here, with Expression, Stimulation, Affirmation and Essence making up of the current market (76%), and Entertainment only making up 1% of this market. Less culturally-active segments are prominent in the lapsed visual arts market The lapsed market for visual arts represents 19% of the culture market. Looking at the Culture Segment profile of the lapsed market, a greater proportion belong to the less culturally-active segments, Enrichment, Release and Perspective, compared to the overall culture market. These segments can be challenging to attract, as their interest can be difficult to translate into activity, but the fact that they have previously visited is promising.
4 million in the commercial theatre market Victoria’s commercial theatres’ programs are diverse, covering a of different cross- arts events. This means that the majority of the artforms covered within this research form the bulk of the commercial theatre artform market. This that the overall market The commercial theatre market includes almost the entire market for culture However, in reality a considerable proportion of the individuals within the commercial theatre market will not be willing or interested in attending the full range of different events currently programmed by the commercial theatres. The live music, theatre, dance and literature sections within this report should therefore be Commercial theatre market penetration referred to in order to understand the size of the market of these artforms. for commercial theatre is very large, representing 99% of the culture market overall. It has an extremely recent market, with 59% of the culture market having attended one of the commercial theatre artforms within the past 12 22% 4% 1% 59% visited in the past 12 months 22% visited 1–3 ago 14% visited 3+ years ago 4% never been and interested 1% never been and not interested Base [3841]
Comedy market penetration The comedy market is sizeable 89% of the culture market belongs to the comedy market which is therefore similar in size to the theatre market. The comedy market is relatively active, with four in ten individuals within the culture market having been to a performance within the past three years (41%). The lapsed and potential markets compromise half of the culture that is to 21% 11% 20% Base [3841] There are also lower proportions of Enrichment within the comedy ever market (7%) which may not be surprising considering they tend to gravitate towards activities that offer the opportunity for intellectual stimulus or self- development. Similar to Entertainment, they only make up 5% of the current comedy market. Culture Segment profile of the comedy ever market compared to the culture market attract larger audiences to comedy. Entertainment and Enrichment are less prominent within the ever comedy market Despite being quite an accessible and social artform, there is still a significantly lower proportion of Entertainment within the comedy ever market (6%). This is trend is even more pronounced when the profile of the current comedy market is considered; they compromise 5% of this market (average 8%). 21% visited in the past 12 months 20% visited 1–3 ago 27% visited 3+ years ago 21% never been and interested 11% never been and not interested
million are in the multi-artform venue market Victoria’s multi-artform market is large, comprising 98% of the culture market, though the penetration for individual organisations is low, indicating that heightening awareness and converting the potential market are key avenues for audience growth. Within each organisation, there is relatively high crossover in main artform consumption, The venue market includes almost the entire market for culture The multi-artform market includes nearly the entire culture market, which is unsurprising given the number of artforms encompassed within it. As with the commercial theatre market, it’s likely that a significant proportion of the market are unlikely to be attending, or willing to attend, the full range of artforms programmed by a mult- artform organisation. In this chapter, the amount Multi-artform market penetration of artform crossover for each venue is examined, though to understand each type of market, reference should be made to the appropriate chapter in this report. indicating that the current market for these organisations are also in the current market for a number of their main artforms. 4% 2% 15% 22% Visited in the past 12 years ago Visited 1–3 years ago Visited more than 3 ago Never been and interested Never been and not interested Base [3841]
Penetration of organisations into the multi-artform ever market Not aware Never been not interested Potential Lapsed Current 2% 3% 2% Though the market for multi-arts is large, penetration for individual organisations is low Although nearly the entire culture market is in the market for one of the artform types programmed by the multi-artform venues, the penetration for the venues themselves is relatively low. Base [3606] 34% of the ever market are aware of Geelong Performing Arts Centre 30% are aware of Meat Market 16% are aware of Arts House North Melbourne The size of the potential market for each of these venues matches or exceeds their combined current and lapsed market, suggesting that a key strategy for audience growth would involve targeting this market and converting their intention into action.
Arts Centre Melbourne As a multi-arts venue and presenter, Arts Centre Melbourne shares significant audience with a range of organisations and - like its other venue Sidney Myer Music Bowl - it is particularly important to the performing arts sector and the organisations that use Arts Centre Melbourne as a venue. 76% of the culture market is aware of it and 53% have attended a show or event at some point in their lives. Market penetration for Arts Centre Melbourne (ACM) and the ACM-specific multi-artform market Current Market (visited in the past three years) Lapsed visitors (visited more than three years ago) Potential Market (never been but interested in attending) been and not interested in attending Unaware They attract higher proportions of the more culturally-active segments – that is, Essence, Expression and Stimulation – and so, unsurprisingly, their current market spend 60% more than the culture market average. Arts Centre Melbourne has high awareness and penetration Compared to multi-artform organisations, Arts Centre Melbourne enjoys high market awareness and penetration, with 76% of the culture market having heard of them before and 53% having been to a show. As discussed earlier, Sidney Myer Music Bowl also has high penetration, with 80% being aware of them and 75% having been to a show. The more culturally-active segments are attracted to Arts Centre Melbourne The three most culturally-active segments – Essence, Expression and Stimulation – make up more than two-thirds of Arts Centre Melbourne’s current market (67%),
Artform market crossover for Arts Centre Melbourne’s current market There is high crossover across 4% Music and theatre 2% Music and dance and theatre 0% Dance and theatre 2% dance, visual art and theatre artform markets Looking at the artform crossover for Art Centre Melbourne’s current market, there are high levels of crossover across the four main artforms: theatre and performing arts, visual arts, dance and music. 38% were in the current market for all four of Arts Centre Melbourne’s main artforms 37% were in the current market for theatre and visual art 37% Music and theatre and visual arts 2% and visual art Music, dance, visual arts and theatre 1% and dance and visual arts 0% Music and dance 3% Dance and theatre and visual arts 0% Dance and visual arts 0% 7% Theatre and visual arts 3% Visual art Dance Visual Art 1% Theatre and Performing Arts 38% of Art Centre Melbourne’s current market are in the current market for and dance and visual arts and theatre. and visual art 0% of Art Centre Melbourne’s current market are in the current market for dance and visual arts only. No artform 1% of Art Centre Melbourne’s current 7% were in the current market for theatre and visual art 1% None of these [Base 1122] market are not in the current market for either music, dance, visual arts or theatre. The high crossover figures indicate that Arts Centre Melbourne is serving audiences with high levels of cultural engagement across the main artforms that make up their programming schedule. Indeed, not only do of their audience engage in at least three of the main artforms, but the proportion of their audience who are only consuming one artform category is very low. This is supported when examining organisation crossover, with their current market making up: 87% of Theatre current market 82% of the The Australian Ballet’s current market 80% of Victorian current market Arts Centre Melbourne’s current market spends significantly
more than average Given their higher-than-average appeal to the more culturally-active segments, it’s not surprising that the average spend of the current Arts Centre Melbourne market is 60% higher than the culture market average at $168.39. The greatest difference is in expenditure on admission, which at $85.82 is 70% higher than the culture market average.