Beruflich Dokumente
Kultur Dokumente
Cultural
attitudes &
attendance
www.artsandbusiness.org.uk 117
Private Investment in Culture 2007/08
Introduction
118
Chapter 5 Cultural attitudes & attendance
119
Private Investment in Culture 2007/08
8
Rest of the
world
UK
0
Israel
Belgium
Germany
Iceland / Islande
Austria
Australia
UnitedKingdom
Ireland
Luxembourg
Korea
Poland
Italy
Hungary
Netherlands
Switzerland
SlovakRepublic
Norway
France
Denmark
Sweden
Canada
Spain
Slovenia
Finland
CzechRepublic
Japan
UnitedStates
Therefore, individuals in the UK do seem to be willing Our survey found that individual giving to culture
to spend their money on recreational and cultural increased by 25% since 2006/07 (above inflation),
activities. Much of this expenditure would be classified bringing the total investment from individuals to 382
as cultural trading income (i.e. admission tickets), but million. Individuals are evidently willing to spend their
the financial commitment of individuals to recreation income on cultural entertainment and it seems this
and culture is further supported by the Private commitment has extended to individual giving through
Investment in Culture Survey (PICS) analysis. legacies, donations etc.
120
Chapter 5 Cultural attitudes & attendance
% GDP
8
United States
UK
7
France
Australia
4
1970
1971
1972
1973
1974
1975
1976
1977
1978
1979
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
1990
1991
1992
1993
1994
1995
1996
1997
1998
1999
2000
2001
2002
2003
2004
2005
It is worth noting that during the 1973-5 recession Reflecting more closely on the 1990/01 recession,
household expenditure dropped quite a lot in the the Office of National Statistics found that household
UK and there was a small drop at the beginning spending changed quite considerably over this
of the 1980s and 1991. Considering the specific period in terms of where households spent their
circumstances of the current recession and the money. Items like insurance, education, clothing and
difference in the composition and nature of the communication all increased but cultural services
economy today and the cultural context (e.g. free entry declined by 6.4%, along with recorded media,
to the national museums and galleries), these figures hospitality and other services.2
cannot provide a definitive guide as to what will
happen to household expenditure in the short-term. This again confirms the challenge for fundraisers in
But they do provide a useful indicator and suggests securing investment from individuals in the coming
that there will be a drop in household expenditure, years. However, it seems that people are still prepared
although the fall in expenditure depends on a number to spend their money on experiences which add
of external factors which have been discussed in some value to their lives. Experiences such as holidays
detail throughout this report. and cultural activities could, rather than become less
important to people, become more important.
121
Private Investment in Culture 2007/08
30.2
122
Chapter 5 Cultural attitudes & attendance
Attitudes to heritage
Im interested in the history of the place where I live
2007
Strongly disagree
Disagree
Neither agree
nor disagree
Agree
Strongly agree
0 10 20 30 40 50 %
2007
Strongly disagree
Disagree
Neither agree
nor disagree
Agree
Strongly agree
0 10 20 30 40 50 60 %
123
Private Investment in Culture 2007/08
2006
Health isnt good enough
2007
Never occured to me
No need to go
0 10 20 30 40 50 60 %
2006
Health isnt good enough
2007
Never occured to me
No need to go
0 5 10 15 20 25 30 35 %
124
Chapter 5 Cultural attitudes & attendance
2006
Never occurred to me
2007
Lack of transport/
I cant easily get to it
0 5 10 15 20 25 30 35 %
0 5 10 15 20 25 30 35 %
125
Private Investment in Culture 2007/08
13.4
Health isnt good enough
Never occured to me
30.9
Wales
126
Chapter 5 Cultural attitudes & attendance
0 10 20 30 40 50 60 70 80 90 100 %
Northern Ireland
127
Private Investment in Culture 2007/08
80
Neither
70
Disagree
60
50
40
30
20
10
0
Artists and art oragnisations
It is right to be publically funded
128
Chapter 5 Cultural attitudes & attendance
Segment 2 Would attend more arts and Higher than average attendance Female.
Prudent participants cultural events if closer to home, and participation. Go to Aged 55 and over.
17% of population easier to access. museums and art galleries. Retired.
Value for money is important Average TV and Radio viewing A range of levels of affluence
when deciding what to do in and listening. Enjoy plays, and education levels.
leisure time. variety shows, traditional
Like to learn and experience music. Fairly low use of Internet.
new things in leisure time.
Have time to attend.
Segment 3 Have difficulties attending due Lower than average attendance Aged 75 and over.
Restricted to age, a disability or long-term and participation. Lower than Disabled or long-term illness.
17% of population illness. average TV and radio viewing Retired.
Feel out of place in an art and listening. Very low use of Low income.
gallery or museum. Internet. No qualifications.
Have difficulty finding DE socio-economic groups.
information about arts and
cultural activities.
If more events and better
access would go more often.
Segment 4 Spending time attending Lowest attendance and Aged 65 and over.
Opting out or participating in arts and participation levels. Low TV and Retired.
14% of population cultural activities is of little Radio viewing and listening. No qualifications.
interest. Very low use of Internet. DE socio-economic groups.
Feel out of place in an art
gallery of museum.
The needs of family members
take priority.
Would not attend more
performances if closer to home,
easier access.
Segment 5 Value for money is not a high Fairly high attendance and Aged 16 to 24.
Free priority when deciding what to participation levels especially Full time employed or in full-
17% of population do in leisure time. music events. Slightly higher time education.
Needs of family are not a high than average TV and Radio Have a degree or higher degree.
priority when planning leisure viewing and listening especially ABC1 socio-economic groups.
time. opera and jazz music. High use
of Internet especially social
networking, purchasing &
downloading music and film.
Segment 6 Attending and participating in High attendance and Aged 45 to 64. No disabilities.
Experienced seekers arts and cultural activities helps participation levels especially Employed or retired. High
14% of population to enrich their quality of my life. theatre, museums and art income. High levels of
Like to learn and experience galleries. Average TV and Radio education. AB socio-economic
new things in leisure time. viewing and listening. Enjoy groups.
plays on radio. High use of
Internet especially to purchase
tickets for arts performances.
129
Private Investment in Culture 2007/08
Cultural attendance
England
Introduction
Overview
130
Chapter 5 Cultural attitudes & attendance
131
Private Investment in Culture 2007/08
60
2005/06
50
2006/07
40
30
20
10
0
Historic building
(non religious)
Historic park,
Industrial history or
Archaeological site
City or town
garden or landscape
Historic place
of worship
Monument
Sports heritage
historic transport
132
2006/07
2005/06
2006/07
2005/06
Chapter 5
0
20
40
60
80
100
%
1624
Never worked
40,000 to 49,999
White
50,000+
Mixed
Asian
1 adult and 0 children
Other
Cultural attitudes & attendance
Lone parent
No religion
No qualifications
Christian
Other qualifications
level unknown
Hindu
Below A-levels
Muslim
Trade apprenticeships
Profile of attendees to historic environments (i)
Other religion
A-levels and above
Profile of attendees to historic environments (ii)
133
Private Investment in Culture 2007/08
In the UK there are over 5,000 public libraries and a far wider age range amongst library attendees
nearly 850 academic libraries, excluding specialist and is generally younger than many other
libraries. Frequently archives are closely connected cultural forms;
to libraries, but can of course be separate entities too.
Archives are distinct from libraries in terms of their in direct contrast to archives, attendees are more
collection and the experience they offer to users. likely to be female;
Around 46% of the population attend a library per from the ethnic background perspective, black and
year and just 5% visit an archive. In 2007/08 libraries other ethnic groups are more likely to attend
and archives received 8 million worth of private libraries and this perhaps demonstrates the
investment but just 10% (817,000) of this came from initiatives taking place in the libraries sector in
businesses. The total level of private investment making them more accessible to young people and
increased by 142% from 2006/07, but, as explained in ethnic minorities;
chapter 1, this can partly be attributed to the inclusion
of a major London library this year. As with heritage, also, in terms of the religion of attendees, unlike
libraries and archives seem to be quite effective at most other cultural artforms, the most common
harnessing the power of the individual, meaning there religions were Buddhists and Muslims;
is scope to attract business investment.
an increasing proportion of attendees from lower
Although archives and libraries can be combined managerial and intermediate occupations, which
cultural venues and have been combined for the combined formed the single largest occupation
Private Investment in Culture Survey, they do attract category;
very different types of audiences, which has a
significant impact on the potential consumer base/ attendees tend to come from lone parent households
market sponsors may be reaching.: or households with adults and children
demonstrating the function of libraries as an
The typical profile of archive attendees is: educational resource for children and families;
likely to be older people, aged between 6574 there has, however, been a decline in overall library
years of age; attendance, as with archives.
134
2006/07
2005/06
2006/07
2005/06
Chapter 5
0
2
4
6
8
10
0
2
4
6
8
10
%
%
No disability/illness
30,000 to 39,999
White
40,000 to 49,999
Mixed
50,000+
Asian
135
0
10
20
30
40
50
60
%
0
10
20
30
40
50
60
70
80
%
136
Never worked 1624
Routine occupations 2544
Semi-routine occupations 4564
Lower supervisory &
technical occupations 6574
Small employers &
own account workers 75+
Intermediate occupations
Lower managerial &
professional occupations Male
Higher managerial &
professional occupations Female
30,000 to 39,999
Private Investment in Culture 2007/08
White
40,000 to 49,999
Mixed
50,000+
Asian
2006/07
2005/06
2006/07
2005/06
137
%
0
10
20
30
40
50
60
70
0
10
20
30
40
50
60
70
80
%
138
Never worked 1624
Routine occupations 2544
Semi-routine occupations 4564
Lower supervisory &
technical occupations 6574
Small employers &
own account workers 75+
Intermediate occupations
Lower managerial &
professional occupations
Male
Higher managerial &
professional occupations Female
30,000 to 39,999
Private Investment in Culture 2007/08
White
40,000 to 49,999
Mixed
50,000+
Asian
2006/07
2005/06
2006/07
2005/06
due to their logistical nature, festivals can attract a Perhaps sponsors need to be focusing more on the
wide range of potential sponsors, from caterers, type of cultural venue/event, rather than the artform,
local businesses, event management organisations in determining which sponsorship is more likely to
to transport providers and major corporates; fulfil their business objectives and reach their target
consumers/market.
festivals have a fairly targeted market (and
sometimes quite large) which sponsors can reach;
139
0
5
10
15
20
25
30
%
0
20
40
60
80
100
%
140
Male Other theatre performance
Play or drama
Limiting disability/
illness Exhibition of art,
photography or sculpture
Non limiting disability/
illness
Carnival
No disability/
illness
Craft exhibition
Asian
Culturally specific festival
Private Investment in Culture 2007/08
Black
Jazz performance
Chinese and other
Event connected with
books or writing
Buddhist Ballet
Hindu
Other live dance event
Types of art events attended
Muslim
African, South Asian
or Chinese dance
Sikh
2006/07
2005/06
2006/07
2005/06
0
5
10
15
20
25
30
%
0
20
40
60
80
100
%
Never worked
Routine occupations
Semi-routine occupations
Lower supervisory &
technical occupations
Small employers &
Carnival
own account workers
Intermediate occupations
Lower managerial &
professional occupations
Under 10,000
10,000 to 19,999
20,000 to 29,999
Profile of art event attendees (ii)
30,000 to 39,999
40,000 to 49,999
Play or Drama
50,000+
Lone parent
Age profile of attendees by art event type
No qualifications
Other qualifications -
level unknown
Below A-levels
Trade apprenticeships
141
Private Investment in Culture 2007/08
Although the cultural attendee profile has remained As highlighted earlier in this chapter, there is actually
fairly consistent between the two surveys there were huge variation in attendee profile within artforms. It is
some minor changes. Going forward, sponsors need the type of exhibition, performance, music, programme
to be aware of how these profiles might change (i.e. etc which really varies audience profiles rather than
changes in the markets they will be reaching) and artform alone. Therefore, it is necessary for sponsors
be able to identify the future opportunities for target to look beyond the artform and consider the content
marketing (i.e. as profiles change, sponsoring a of the activity which they are wishing to sponsor. A
particular artform/type of venue and event presents summary of the audience variations within the major
a new opportunity to target a particular market). artforms is given overleaf.
Future audience profiles of cultural venues are just as It is important to note that there were two variables
important as understanding current profiles. We are found to impact on all cultural attendance and
only six months into the release of the 2007/08 Taking participation that of educational attainment and
Part Survey findings and, so far, very negligible whether they were located in London. Those with
changes can be detected. What it does show, however, higher qualifications were more likely to participate
is that there is an increase in people from lower- in a wide range of cultural activities than those with
economic groups and people with a limiting disability lower-level qualifications. People in London also
attending historic environments. displayed a much higher propensity to attend than
those located in other English regions (but this is
expected given the scale and number of cultural
opportunities available in the capital). However, as
we have already seen, London attendance by artform
has actually seen a decline between the two Taking
Part Surveys (in libraries, archives, museums and
galleries). Despite this decline in Londoners attending,
the capital still has one of the highest attendance levels
of all the regions (explored later in this chapter).
Six-month comparisons
Historic environment Museums and galleries Art events
Year 1 Year 3 Year 1 Year 3 Year 1 Year 3
BME 50% 54.6% 37% 38.2% 23.2% 26.5%
Limited 58.4% 61.5% 31.7% 32.5% 23.6% 24.3%
Disability
Lower socio- 57.3% 59.8% 29% 29.8% 17.3% 17.3%
economic
All adults 69.5% 71.1% 42.3% 42.6% 33.1% 33.4%
Rolling comparisons*
Historic environment Museums and galleries Art events
Year 1 Rolling Year 1 Rolling Year 1 Rolling
BME 50.7% 50.6% 35.5% 35% 23.5% 24.3%
Limited 59.6% 60.2% 32.1% 31.6% 24.1% 24.4%
Disability
Lower socio 57.1% 58.4% 28.3% 29.4% 17.4% 17.5%
economic
All adults 69.9% 70.1% 42.3% 42% 33.7% 33.3%
*rolling estimates means the last six months of year two are combined with the first six Source: Taking Part: The National Survey of Culture, Leisure and Sport Progress
months of year three. Report on PSA3: Provision estimates form the first six months of year three, Department
for Media, Culture and Sport, June 2008
142
Chapter 5 Cultural attitudes & attendance
Visual Arts Museums and Taking cross-over Women more Black ethnic Age: 13%
Galleries 42% into account, 50% likely to attend background less Older people tend One of the most
of English adult craft exhibitions likely to attend to go to museums popular artforms
Craft 20% population has across all visual while younger and receives the
attended at least Men more likely art types people tend to go second highest
Video/electronic one visual art to attend video- to video/electronic level of business
4% event electronic art art investment
Region:
Londoners more
likely to attend
Theatre & Other live music Over half of those Women are more Non-white adults Age: 11%
Street Art events have who attend a play/ likely to attend are less likely to Likelihood
best reach of drama will attend any type of theatre attend any theatre of attending
population another type of type increases with age
theatre
Region:
Those in the
North and
Midlands less
likely to attend
Source: Attendance and participation in Visual Arts & Crafts / Dance / Reading, Writing
& Literary Events / Music Events / Theatre, Street Arts & Circus in England Findings
from the Taking Part Survey 2005/6 Briefing No 9, Department for Culture, Media and
Sport, 2005/06
143
Private Investment in Culture 2007/08
72
Trendline
71
70
69
68
67
66
65
64
1998 1999 2000 2001 2002 2003 2004 2005 2006 2007
144
Chapter 5 Cultural attitudes & attendance
100
2005/06
90
2006/07 80
70
60
50
40
30
20
10
0
16-24 25-34 35-44 45-64 65+
78
2005/06
77
2006/07
76
75
74
73
72
71
Male Female
145
Private Investment in Culture 2007/08
As evidenced in the England attendance research, Between 2006 and 2007, attendance has increased
there is a close correlation between cultural attendance across all of the social grades, with AB showing the
and social grade, with those in the AB social largest increase by 9% but there was also an important
grade more likely to attend (at 90%) and with each increase among C2 (from 73% to 77%) and DEs (from
subsequent social grade having marginally lower 61% to 66%). The one exception to this trend is the C1
propensity to attend. social grade.
95
2005/06
90
2006/07
85
80
75
70
65
The AB social grades are the most likely to attend greater propensity to attend than other social grades
cultural venues and events across the board, with a and these are: art & craft exhibitions, plays, opera,
decrease in each subsequent social grade, so that DE classical music and literary events. For example, ABs
are the least likely to attend. There are some particular are four-times more likely to attend classical music
artforms where AB grades display a significantly events than C2DEs and almost twice as likely as C1s.
Profile by artform with a downward trend evident for the last three years.
After the high attendance levels of other music events,
Attendance by artform starts to show some of the art & craft exhibitions and plays seem to be the second
key deviating factors which affect attendance and the and third most popular artforms in Wales, while ballet,
profile of cultural audiences. Between 1998 and 2004 opera and contemporary dance have more of a niche
attendance levels were relatively stable across all of the appeal. This corresponds exactly to artform popularity
artforms, but in 2005 a sudden decrease seems to have in England.
affected them all. The 2004/05 fall seems to have been
for one year only with increases recorded year-on-year Art & craft exhibitions have seen the largest increase
since to reach their 2004 peaks. in attendance since 1998, with an increase of around
11%. For a number of artforms, art & craft exhibitions
Other music events are the most popular artform in included, 2007 was a record year for attendance. For
Wales, but this popularity seems to be waning slightly example three-in-ten adults saw at least one play,
146
Chapter 5 Cultural attitudes & attendance
40
Art/craft exhibitions
35
Plays 30
25
Musical
20
Classical music
15
Literary events
10
Jazz 5
0
Contemporary dance 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007
Opera
Ballet
147
Private Investment in Culture 2007/08
45
Male
40
Female
35
30
25
20
15
10
0
events
Other live
music
Art/craft
exhibitions
Plays
Musical
Classical
music
Literary
Jazz
Contemporary
dance
Opera
Ballet
Source: Arts Council Wales 2007
Omnibus Survey (Beaufort Research)
On the whole women are more likely to attend cultural jazz, where men are more likely to attend. This gender
venues and events than men, with perhaps plays distinction between artforms is directly comparable
and musicals displayed this trend most prominently. to England.
The two exceptions to this are other live music and
60
AB
50
C1
40
C2
30 DE
20
10
0
events
Other Live
music
Art/Craft
exhibitions
Plays
Musical
Classical
music
Literary
Jazz
Contemporary
dance
Opera
Ballet
148
Chapter 5 Cultural attitudes & attendance
Age is quite interesting because there is greater The other artforms have a high level of middle-age
variation by artform than the other demographic attendees, such as contemporary dance. There are
variables examined so far. Musicals, classical music, one or two notable exceptions to this; jazz for example
opera and ballet are more likely to be attended by the seems to appeal fairly equally to all age groups but has
over 65s. In contrast, 16 to 24 year-olds are more likely niche appeal to the Welsh population as a whole.
to attend other live music events.
60
1624
50
2534
40
3544
4564 30
65+ 20
10
0
events
Other live
music
Art/Craft
exhibitions
Plays
Musical
Classical
music
Literary
Jazz
Contemporary
dance
Opera
Ballet
Source: Arts Council Wales 2007
Omnibus Survey (Beaufort Research)
149
Private Investment in Culture 2007/08
30
2005/06
25
2006/07
20
15
10
0
Play or drama
Music concert
(pop or rock)
Museum
Pantomine
Craft exhibition
Community festival
photogrpahy, sculpture)
Traditional music
performance
Dance events
Carnival
Irish dance
performance
Arts festival
Exhibition (art,
30
Male
25
Female
20
15
10
0
Play or drama
Pantomine
photogrpahy,
sculpture)
Craft exhibition
Classical
music concert
Carnival
Irish dance
performance
Arts festival
Poetry reading
Ballet
festival
Museum
Exhibition (art,
Community
150
Chapter 5 Cultural attitudes & attendance
Women in Northern Ireland display a much higher classical music has a very similar profile to that of
propensity to attend a play or drama than men. dance, in that it has niche appeal and preferred,
In contrast, men are more likely to attend a community relatively speaking, by older people;
festival, other live music events or a museum.
This trend is directly comparable to that found in the age profile of museum attendees shows a
England and Wales. dominance of 35 to 49 year-olds. This is an age
group dominated by families. The age profile is
In 2007, 93% of individuals aged between 16 and 24 broadly similar to that of exhibitions.
had been to a cultural event. The profile of attendees
by artform varies to some degree, which is consistent The graph below shows the 2007 age profile findings.
with variations found in the other nations. The key If these findings are compared to the 2004 survey
profile findings are: results, we can see that there is very little variation
in the age profile of cultural attendees by artform.
plays have a relatively even age distribution, but The most significant statistical variation was the
with a slightly higher proportion of 35 to 49 9% increase in 50 to 64 year-olds attending cultural
year-olds and lower proportion of over 65s; venues and events.
45
1624
40
2534
35
30
3544
25
4564
20
65+ 15
10
0
Carnival
Arts festival
Community festival
Ballet
Contemporay
dance events
Pantomine
Poetry reading
(pop or rock)
Jazz concert
Opera
Traditional
music performance
Craft exhibition
Museum
photography, sculpture)
Exhibition (art,
Music concert
151
Private Investment in Culture 2007/08
The Taking Part Survey for England identified that There are some notable variations to this overall
educational attainment was one of the most significant trend though:
and constant factors affecting cultural attendance.
Northern Irelands cultural attendance survey does other live music, traditional music, poetry readings
not investigate education levels but does look at and art festivals are actually more likely to be
deprivation levels, and this has quite a significant attended by the second quintile (the second most
impact on attendance patterns. prosperous quintile);
Since 2004, there has been a decrease in the most carnivals, community festivals, Irish dance,
deprived quintile attending culture, by a margin of 2%. performance and other live dance are more likely
This is juxtaposed with the fact that those in the least to be attended by people from the third and
deprived quintile have increased their attendance by fourth quintile.
a margin of 6%, although the top quintile is still more
likely to attend cultural venues and events. If this is
then mapped on to artform, it is not a surprise that the
same dichotomy in attendance by deprivation quintile
is found in most of the artforms with the least
deprived having the greater propensity (or perhaps
ability) to attend.
40
Top 20% least deprived
35
20
Next 20% quintile 4
15
0
Carnival
Arts festival
Community festival
Ballet
Contemporay
dance events
Pantomine
Poetry reading
Opera
Traditional
music performance
Craft exhibition
Museum
photography, sculpture)
Exhibition (art,
152
Chapter 5 Cultural attitudes & attendance
Investment and attendance by artform 41% attended a visual art venue / event (see above);
Focusing initially on museums, Scottish museums 11% attended some form of dance and it received
received 4% of Scotlands total business investment 254,000 in business investment (3% of business
making it one of the least invested in artforms by investment).
business, which is in contrast to England. This is not
to suggest that business investment is not important This shows that artforms like the visual arts and
to the financial fortunes of museums; actually 16% of theatre are the most popular while dance has a more
all the private investment received by museums came limited appeal.
from businesses.
153
Private Investment in Culture 2007/08
Museums
Art galleries
Musicals
Plays
Art festivals
Traditional crafts
Jazz music
Contemporary painting
Ballet
Opera
Contemporary photography
Contemporary crafts
Literary event
Contemporary dance
Contemporary sculpture
0 5 10 15 20 25 30 35 %
The majority of the artforms have actually experienced It is interesting to reflect on the creative industries in
a decrease in attendance by a couple of percentage Scotland which have been thriving and increasing
points. Contemporary crafts and traditional Scottish their turnover and GVA to the economy in recent years.
dance declined by 3% each. This trend suggests an
increasing divide in attendance at Scotlands cultural
venue and events with the most attended increasing
their share and popularity and the inverse occurring to
the more niche artforms.
154
Chapter 5 Cultural attitudes & attendance
Museums
Plays
Art galleries
Contemporary photography
Jazz music
Arts festivals
Musicals
Opera
Ballet
Contemporary dance
Contemporary crafts
0 5 10 15 20 25 30 35 %
2004
2006
2008
Profile by artform
155
Private Investment in Culture 2007/08
Art galleries
Plays
Art festivals
Contemporary painting
Opera
Jazz music
Ballet
Contemporary photography
Literary event
Contemporary dance
Contemporary sculpture
0 10 20 30 40 50 60 %
Art galleries
Plays
Art festivals
Musicals
Contemporary painting
Ballet
Jazz music
Contemporary photography
Contemporary crafts
Contemporary dance
Literary event
Contemporary sculpture
0 10 20 30 40 50 60 %
156
Chapter 5 Cultural attitudes & attendance
The other major factor identified during the Taking Detailed information about audience profiles by
Part 2008 Scotland study was the socio-economic artform provides strong indication of the types of
profile of attendees. Around 96% of those in the AB audiences sponsors of cultural organisations in
group took part in cultural activity compared to 82% of Scotland are reaching, as well as providing guidance
DEs. These findings are broadly similar to that of the to potential sponsors as to which markets they could
previous years survey. be reaching. The table below begins to present the
headline information.
157
Private Investment in Culture 2007/08
Not all of the artforms which the Private Investment Despite the different nature and content of the
in Culture Survey examines have been covered by the artforms, there is actually a considerable amount of
Taking Part Survey for Scotland, but the Household similarity in audience profile which helps to confirm
Survey for 2007 does include some information that audience variations lie not so much in artform
about the cultural and sporting habits of the Scottish but the type of programme, event and exhibition in
population too. Although maybe not as robust, it does question (e.g. classical, contemporary etc).
provide some useful indicators for some of the cultural
activities not covered so far.
Library 28% 34% 29% 35% 35% 30% 32% 25% 31%
Other live music 27% 24% 36% 35% 32% 27% 16% 6% 26%
Historical site 22% 18% 11% 20% 26% 24% 19% 9% 20%
Craft exhibition 10% 15% 4% 11% 14% 17% 15% 8% 13%
Street arts 12% 11% 11% 17% 16% 12% 7% 2% 11%
Archive 3% 2% 1% 2% 3% 2% 3% 2% 2%
Source: Scotlands People: results from the 2007 Scottish Household Survey, Scottish
Government and National Statistics, 2007
Street arts
Exhibition/collection
Museum
Play/drama
Once in last
12 months
Library
Film
Dont know
0 20 40 60 80 100 %
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Chapter 5 Cultural attitudes & attendance
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Private Investment in Culture 2007/08
45
Wales
40
Northern
35
Ireland
30
Scotland
25
20 England
15
10
0
Film/video
Arts centre
Crafts
Dance
Festival
Heritage
Library/archive
Literature/poetry
Museum
Music
Opera
Other artform
Theatre/play
Arts services
Community arts
Visual arts
Overview
Regional attendance
From looking at total cultural attendance by region, the
Having now examined overall attendance in South East has the highest rate of cultural attendance
the UK and the variations across the four with 73% of the South East population attending,
nations, what about the English regional followed by the South West and East of England
variations in attendance? jointly with 72%. London has the fourth highest level
of cultural attendance with 63%. London, in terms of
As already mentioned, audiences at individual private investment, is the major focus of investment
cultural venues and events will vary considerably activity. In 2007/08 London received 25% of the UKs
depending on their location in the UK as well total private investment or 477.5 million.
as the programme/type of cultural activity it is.
In order for this report to provide as thorough Comparing the regional distribution of business
and robust a guide as possible for sponsors and investment, unsurprisingly, London is a major draw
fundraisers alike, we now turn our attention to the with 58% of Englands business investment going to
regional variations in cultural attendance. the capital. The North West is the repository for 11%
of the investment made by businesses, the North East
with 7% and the South East with 7%.
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Chapter 5 Cultural attitudes & attendance
South East
London
East of England
West Midlands
East Midlands
North West
North East
54 56 58 60 62 64 66 68 70 72 74 %
Source: Taking Part: Englands Survey of Culture, Leisure and Sport, Department for
Culture, Media and Sport 2006/07
7
North East
North West
South East
11
South West
58
7 East
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Private Investment in Culture 2007/08
Historic environments The South East has the highest attendance levels for
historic environments with 75% of people attending.
London has the lowest attendance of all of the regions Nearly all of the regions saw a decline between the two
for attendance to historic environments. London surveys except the East of England which stayed the
actually experienced a decline between the two same and the North East and Yorkshire & the Humber
surveys in attendance as well, making it significantly which increased. Yorkshire & the Humber actually
behind all of the other English regions for attendance increased by a margin of 3.6%.
to historical environments.
80
2005/06
70
2006/07
60
50
40
30
20
10
0
North East
North West
Yorkshire and
Humberside
East Midlands
West Midlands
East of England
London
South East
South West
Libraries and archives Across all the regions, libraries and archives received
around 1% or less of the regional business investment.
Archives saw quite a big decline in attendance across Practically all of the business investment libraries
all of the regions, hence the national fall by 1%. The and archives received was focused on London (87%).
South East saw the biggest fall in attendance by nearly However, London did not have the highest attendance
2%, followed by London, North West and the North rates for archives.
East. The East Midlands and West Midlands, however,
bucked this trend by having an increase in attendance All regions saw a fall in library attendance. The
between the surveys by 0.4% and 0.2% respectively. most significant drop was in the London, followed
by the East of England with attendance at 3.5% and
Despite this trend, the West Midlands and the South 3% lower in 2006/07 than in 2005/06. Yorkshire
West had the highest overall attendance to archives & the Humber had the lowest overall attendance
of all of the regions (6.4% and 5.4% respectively). The levels at libraries with just 40.5% of the regional
North East and London have the lowest attendance population attending.
rates at archives with 3.6% and 4.5% respectively.
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Chapter 5 Cultural attitudes & attendance
8
2005/06
2006/07
6
0
North East
North West
Yorkshire and
Humberside
East Midlands
West Midlands
East of England
London
South East
South West
Source: Taking Part: Englands Survey of
Culture, Leisure and Sport, Department
for Culture, Media and Sport 2006/07
60
2005/06
50
2006/07
40
30
20
10
0
North East
North West
Yorkshire and
Humberside
East Midlands
West Midlands
East of England
London
South East
South West
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Private Investment in Culture 2007/08
60
2005/06
50
2006/07
40
30
20
10
0
North East
North West
Yorkshire and
Humberside
East Midlands
West Midlands
East of England
London
South East
South West
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Chapter 5 Cultural attitudes & attendance
80
2005/06
70
2006/07
60
50
40
30
20
10
0
North East
North West
Yorkshire and
Humberside
East Midlands
West Midlands
East of England
London
South East
South West
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Private Investment in Culture 2007/08
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Chapter 5 Cultural attitudes & attendance
35
30
25
20
15
10
0
photography
or sculpture
Event connected
with books or writing
Carnival
Culturally
specific festival
Play/drama
Other theatre
performances
Exhibition of art,
Street arts
Craft exhibition
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Private Investment in Culture 2007/08
Londoners attendance to culture fell across many Yorkshire & the Humber tends to have one of the
of the artforms between the two surveys. Despite lowest levels of cultural attendance when compared
this, London still had the highest levels of to the other regions, except for attracting people to
attendance for museums, galleries and libraries. its historic environments.
London is the major draw for business investment, Attendance does vary across the regions and a
with 58% of all business investment in England major factor in this is the opportunities for
going to London. Following the capital is the North attending and participating in culture (the
West, with 11% of all business investment in supply-demand dynamic). Therefore, the regional
2007/08. Attendance at museums and galleries is context and competition needs to be borne in mind
more distributed than business investment. London when considering the market and audience
is presumably attractive to businesses because of information in order to make decisions about
the wide audience base sponsors can reach, both sponsorship.
UK and international audiences.
As discussed in some detail above, some of the
After London, the South East had a high attendance artforms in the regions have experienced a surge in
rate and business investment rate. Surprisingly the attendance between the two surveys these may
North West had a relatively low proportion of its represent good sponsorship opportunities for
business investment going to museums and businesses to pursue if they wish to increase their
galleries given that it was Liverpools Capital of regional presence or support specific communities.
Culture in 2008. However, this may be because the
investment in cultural programming was counted The South East and the East of England have
in the 2006/07 survey as investment was pledged relatively high attendance levels for a number of
and received before 2008. artforms in comparison to the other regions, such
as other theatre performances, plays, drama and
Art events and festivals seem to be an artform craft exhibitions.
businesses like to invest in, especially within the
North West and South West. In terms of the Craft exhibitions in London seem to be fairly
regional distribution of the business investment in poorly attended in comparison to the other
festivals, the North West is key (accounting for 40% English regions, which suggests that not only is
of all business investment in festivals), followed by the crafts sector niche in its appeal but also in
London, the South East and the South West. need of some support.
Broadly speaking, the patterns of attendance reflect
those of business investment in festivals.
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Chapter 5 Cultural attitudes & attendance
What is very clear from the regional breakdown of There is some relation between investment and
attendance is that one of the most important factors attendance but what is perhaps clearer from the
in attendance is the cultural opportunities findings is that there are a number of sponsorship
available; if fewer exhibitions, video art, carnivals opportunities across the UK, but especially in the
etc take place in a region, then attendance levels regions, which are under-utilised by businesses.
are skewed to reflect this.
80
Arts events
70
Libraries
50
Archives
40
Historic environments 30
20
10
0
North North Yorkshire East West East of London South South
East West & Humber Midlands Midlands England East West
Source: Taking Part: Englands
Survey of Culture, Leisure and
Sport, Department for Culture,
Media and Sport 2006/07
Audiences London, the regional audience development For ease of reference, the MOSAIC groups and types
agency for the capital, has collected information are as follows. It should be noted that MOSAIC is just
about audiences and their behaviour through 40 box one market segmentation model and many cultural
offices at London performance venues in order to organisations have their own bespoke one, such as
build a Snapshot of the City. Using the MOSAIC geo- the National Trust and the Arts Council. Unlike many
demographic profiling and mapping tool, it has been of these models though, the MOSAIC one is based on
possible to gather this information and cross-reference geo-demographic data.
it to London as a whole. Although much of the data
is concerned with performing arts, the findings do
corroborate some of the Taking Part Survey findings
and helps to move the analysis forward, whilst
providing some important indicators about cultural
attendance in general.
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Private Investment in Culture 2007/08
D. People who live in established, rather D27. 5% of snapshot households and 11% of London
Ties of old-fashioned communities. Younger than Settled households
community average, married or cohabiting and bringing Minorities Young families and single, ethnically diverse,
up children living in urban terraces and aspirational
E. Are young, well-educated, open to new ideas E28. 10% of snapshot households and 10% of London
Urban and influences, cosmopolitan in tastes and Counter households
intelligence attitudes and are ethnically and culturally Culture Mix Young professionals, ethnic minorities, mobile
diverse educated and enjoy diversity
F. Struggling to achieve the material and F36. 4% of snapshot households and 13% of London
Welfare personal rewards that are assumed to be Metro households
borderline open to all in an affluent society, most rely Multicultural Public housing, ethnically diverse tenants,
on the council for accommodation and on majority aged 25 - 45 years and many have
state benefits children
Typical profile
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Chapter 5 Cultural attitudes & attendance
over-represented among audiences, compared to The MOSAIC Types which are over-represented
Londons population as a whole and make up 63% of among the cultural audiences of London are
the attending households. Audiences London and its graphically represented below. The pattern of Types
clients have come to recognise this pattern across all found in the performing arts is recognisable across
artforms within London. many other artforms. The Types differ slightly in terms
of lifestage.
35
% Snapshot
London 05/06
30
London
population 25
20
15
10
0
families
isolation
of success
A Symbols
B Happy
C Suburban
comfort
D Ties of
community
E Urban
intelligence
F Welfare
borderline
G Municipal
dependency
H Blue collar
enterprise
I Twilight
subsistence
J Grey
perspectives
K Rural
%
12
10
0
A01 Global
connections
A02 Cultural
leadership
A03 Corporate
chieftains
A04 Golden
empty nesters
A05 Provincial
privilege
A07 Semi-rural
seclusion
C18 Sprawling
subtopia
C19 Original
suburbs
D27 Settled
minorities
E28 Counter
cultural mix
E29 City
adventurers
F36 Metro
multiculture
J52 Childfree
serenity
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Private Investment in Culture 2007/08
Factors affecting attendance The slight differences in profile across the artforms
can only be indicative and not conclusive and the
The Audiences London data has been able to establish variances can be explained by a variety of factors, and
which MOSAIC groups are most likely to attend not necessarily the artform in itself, as the following
cultural venues and events in London, but how does graph indicates.
this vary across artform?
The variation across artform is by a degree rather than
Around a quarter of the households attending dance offering radically different attendee profiles, as was
were from the MOSAIC Group Symbols of Success, found in the Taking Part Survey for England when it
compared to the benchmark of 32%; whereas the examined attendees by artform.
orchestral benchmark has 40% of its households from
this group. For the Children and Family artform, 27%
of the households are of the Mosaic Group Urban
Intelligence, as opposed to 31% in the benchmark and
34% of households attending Plays/Drama.
50
Dance
45
40 Plays/drama
35
Children/family
30
25
Orchestral
20
15 Visual arts
10
0
B Happy families
K Rural isolation
A Symbols of success
C Suburban comfort
D Ties of community
E Urban intelligence
F Welfare borderline
G Municipal dependency
I Twilight subsistence
J Grey perspectives
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Chapter 5 Cultural attitudes & attendance
The following graph looks at the different genres of As detailed in the Taking Part Survey 2005/06 which
dance represented in the Snapshot London dance looked just at artforms in England, there is actually
benchmark in order to try to explore the variables greater variance within an artform than between them.
that radically affect attendance. The graph shows What is important are those attributes which influence
that there is an equal amount of variance of profile someones perceptions, and therefore whether they
within one artform as across the artforms. In this case consider that it is for them.
the data compares a more popular form of dance to
contemporary dance and mixed-media dance.
60
Culturally specific/
mixed media dance
50
Contemporary dance
40
Popular dance theatre
30
20
10
0
K Rural isolation
A Symbols of success
B Happy families
C Suburban comfort
D Ties of community
E Urban intelligence
F Welfare borderline
G Municipal dependency
I Twilight subsistence
J Grey perspectives
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Private Investment in Culture 2007/08
Sponsorship
& attendance
conclusions
When a business sponsors a cultural venue or In order for strategic decisions to be made by both
event, it aligns its brand to that of the cultural the cultural organisation and the business,
organisation. The perceptions the public have audience data is invaluable. The more detailed the
about culture and that particular venue or event information a cultural organisation can supply to a
will be partly transferred to the sponsor. Therefore, potential sponsor, the better. This information
it is important to understand the perceptions and provides a compelling case for sponsorship and
views about culture if businesses are looking at helps develop an attractive business proposition.
sponsorship to have an impact on their brand. The Information about market segments, demographics,
views expressed from the attitudinal aspects of the behavioural patterns and attitudes will help
attendance surveys shows that people believe the sponsors market themselves through peoples
following about culture: lifestyle and thereby fulfil their marketing
objectives. However, not all cultural organisations
that culture enriches peoples lives and are able to supply such detailed information about
communities; their audiences and again partnering with
businesses can help cultural organisations with
through attending and participating in culture, their marketing.
people can gain new skills which can be
economically advantageous. The detail of the market profiles of cultural
attendees by artform, nation and region is
Businesses involved in cultural sponsorship could discussed above. Although there are of course
therefore be seen as perpetuating these values as variations, there are actually a number of
well as committed to issues about quality of life, similarities in the trends. For example, the three
community and staff/personal development. most significant factors affecting someones
propensity to attend culture is education, social
Around three-quarters of the UKs population grade and location (people located in London are
attend a cultural venue or event every year. more likely to attend than many of the other regions
but this margin seems to be declining according to
Households and individuals do seem to be the Taking Part Survey for England).
committed to spending their time and money on
recreation and culture as demonstrated by the Another area of similarity between the nations and
relatively high levels of household expenditure on regions is which artforms appeal to the mass market
recreation and culture in the UK when compared and which have niche appeal. Museums, galleries,
to other countries and the individual investment exhibitions, films and pop/other live music are some
in culture at around 382 million (up by 25% from of the most attended artforms in the UK; whereas
last year). video/electronic art, ballet and contemporary dance
are quite niche cultural activities.
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Chapter 5 Cultural attitudes & attendance
The greatest variation in attendee profile actually There are particular artforms by nation and
is not so much by artform but the type of region which seem to rely heavily on
programme, activity, event it is e.g. is it a classical businesses as a source of private investment
performance, contemporary, family-orientated etc. while others, like heritage, seem to rely on
This is suggested by the Taking Part Survey for harnessing the power of the individual as a
England but explored in more detailed by source of investment.
Audiences London.
What is evident is that there are key
But is there a relation between popularity/high opportunities for businesses to invest in culture
attendance and sponsorship? In the case of some of either because few businesses seem to be
the top performing cultural venues and events, investing in a particular artform in that region/
there probably is. Some of the blockbuster cultural nation at the moment e.g. crafts and literature or
activity of 2007/08 has had a business sponsor. because the artform reaches a wide audience
However, overall, the situation does not appear to and there is greater value sponsors could exploit
be so straightforward: from this e.g. festivals or museums and galleries
outside of London.
There does not appear to be such a strong
correlation between the most popular artforms What is impossible to establish from this research,
and business investment as one might expect. however, is the cause and effect. Do sponsors prefer
Some sponsors are, of course, looking for that sponsoring the most attended artforms (sometimes,
mass market appeal but others are clearly but probably not always) or do sponsors help
seeking to market themselves to a very diversify and expand cultural audiences by
particular consumer profile, which is where enabling innovative programming? What is
more niche artforms have their sponsorship important to remember is that different types of
potential and, as evidenced by the Private sponsorships work for different partners depending
Investment in Culture Survey, there is a on the aims, objectives and required impacts
sponsorship market for them. (whether it is about marketing, brand positioning,
business competitiveness, corporate social
Museums, the visual arts and festivals are some responsibility, staff development etc).
of the most popular cultural activities across the
nations and regions and tend to receive the most
investment from businesses, but there are
regional and national variations to this trend.
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Private Investment in Culture 2007/08
176