Tag Archives: analysemetoder

Jun. 23.

Introduktion til publikumsanalyse i Rotterdam

20-siders hæfte på engelsk, hvor Rotterdam Festivals fortæller, hvordan de gennem de seneste fem år har arbejdet med publikumsanalyse, tal og tendenser.

PDF: We Rotterdammers and Culture


‘We Rotterdammers and Culture – an analysis of figures and trends from five years of audience research’

INTRODUCTION
Audience research has been very topical lately. One of the reasons for this is that the composition of the population has changed over the last few decades and will continue to change in the years to come. Another reason for the interest in audience research is the fact that cultural policy is increasingly linked to ‘the interest and requirements of the audience’.

In cooperation with the Rotterdam cultural sector, Rotterdam Festivals has been promoting a collective and structural approach for audience development in Rotterdam since the late 1990s. For more than ten years now, Rotterdam Festivals has initiated and coordinated research into the Rotterdam cultural audiences in a structured way. For example, by providing insight into the general composition, thresholds and motives of the culture audience.

We compiled the knowledge we have collected in this area in recent years in the Dutch publication Wij Rotterdammers en cultuur (We Rotterdammers and Culture) published in September 2011. Due to the positive feedback on the publication and the interest from our international contacts, we thought it useful to publish an English summary of Wij Rotterdammers en cultuur. Although the data in the studies are based on the Rotterdam area, the results and the approach can also be used by cultural professionals in other
cultural metropolises.

First we introduce the target group model used by Rotterdam Festivals, then we describe the eight main audiences we distinguish (Who are we?).

In Chapter 2 (What do we do?) we show what people do in their free time and determine how the cultural audience of Rotterdam differs from the rest of the Netherlands and Europe.

Then we discuss the barriers people experience with regard to cultural events (What is stopping us?).

Finally, we summarise what the requirements of each of the eight target audiences are (What do we want?).

We hope that you will enjoy reading this English edition. And that it may contribute to increasing your knowledge about your audience so that even more people will benefit from what the arts and culture sector has to offer.

Chapters
Who are we? > p. 4
What do we do? > p. 10
What is stopping us? > p. 14
What do we want? > p. 18

© Copyright Rotterdam Festivals, 2012
Editing: Cynthia Dekker, Eelke Bosman, Johan Moerman
English translation: Paula Truyens en Christy de Back
Photography portraits: 500watt
Photography: Daarzijn
Design: stofrotterdam.nl

Nothing from this publication may be copied without prior written permission from Rotterdam Festivals. The content of this publication has received considerable attention. For any inaccuracies we can not be held liable, nor is this publication legally binding.
Rotterdam Festivals
www.rotterdamfestivals.nl

PDF: We Rotterdammers and Culture

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Jun. 19.

Arts Council England lancerer to nye publikum-toolkits

Arts Council England – briternes kunstråd – har lanceret to nye toolkits/guider, der giver praktiske råd og tips om, hvordan man engagerer to målgruppesegmenter, der tilsammen udgør omkring en tredjedel af kunstpublikummet. De kaldes henholdsvis ‘Middag og et show’ og ‘Familie og samfunds fokuseret’.
Guiderne giver oplysninger, som kan hjælpe kulturinstitutioner til bedre at forstå disse to målgruppesegmenter.

Family & Community Focused Toolkit [PDF]

Dinner and a Show Toolkit [PDF]

 

INTRODUCTION

One of the Arts Council’s 10-year goals is for more people to experience and be inspired by the arts. We know excellent work is being created all over England and that more people than ever are engaging with the arts, but we think there is real potential to attract even bigger audiences, reach even more people and make sure those who engage with the arts do so more regularly.

We want to work with arts organisations across the country to enable them to have an even-stronger focus on building audiences – so that they remain central to the communities they serve. Our aim is to ensure that people, wherever they live and whatever their background, have access to excellent art and that we break down the economic and social barriers that stop people enjoying the arts.

The first step towards achieving this goal, is to understand why and how different people engage with the arts in England. The Arts Council’s Arts Audiences: Insight research identified 13 distinct audience segments and looked at how the arts fit into the lives of these groups, their engagement with and attitudes to the arts, and how they spend their leisure time. It also considered socio-demographic
factors, media consumption and lifestyles. You can read more about this research by visiting www.artscouncil.org.uk/audienceinsight

This toolkit concentrates on the segment we call ‘Dinner and a show’, which accounts for about 20% of the English adult population. It aims to help arts organisations attract this particular section of the population to their work, setting out the characteristics of this group and providing a six-point process for encouraging them to experience the arts.

The toolkit also provides case studies from organisations that have undertaken pilot projects aimed at attracting this audience segment.

I’d like to thank &Co, All About Audiences and Audiences North East who have worked alongside us on these toolkits, and also all the organisations that volunteered to be case studies for this research.

I’m sure these toolkits will be really useful to organisations across the country as they look to attract new audiences to the arts.

Alan Davey
Chief Executive, Arts Council England


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Jun. 17.

Oplæg fra konferencen Audiences Insight/out kan læses på nettet

Den 29. og 30 maj var Rotterdam vært for den afsluttende konference i Extending the Margins-konference-serien. Den havde titlen Audiences Insight/out og temaet var publikum-segmentering og publikumsanalysemetoder. Eksperter fra hele Europa mødtes for at tale om og diskutere de behov, fejl, ‘must haves’ og ‘nice to have’ inden for publikum-segmentering og CRM, forskellige modeller og brugen af dem. Det var inspirerende.

For de af jer, der ikke kunne være der, er alle præsentationerne lagt ud på Audiences Europe Networks hjemmeside i gruppen Audiences Insight/out. De vil give dig et et indblik i, hvad konferencen indholdt.

CJ Lyon har også optaget og streamet nogle af oplæggene, og de vil blive lagt op på samme hjemmeside snarest.

• Webadressen er: audienceseurope.net/group/audiences-insight-out-rotterdam

(Hvis du ikke kan se siden, er det fordi du først skal oprette et medlemskab af netværket)

• Powerpoint-præsentationerne fra konferencen er samlet her:
slideshare.net/BureauPP

_________________________________________________________________________________

• Norsk Publikumsutvikling – 14. juni 2012:
Publikumssegmentering?
Norsk Publikumsutviklings resumé fra konferencen i Rotterdam: “På publikumsutviklingskonferansen Audiences Insight/out sto segmentering i fokus. Vi skulle få svar på hvorfor man burde segmentere sitt publikum, og hvordan…”

Målgruppesegmentering
På publikumsudviklingskonferencen Audiences Insight/out var segmentering i fokus. Vi skulle får svar på, hvor man bør segmentere sit publikum, og hvordan.

Hvad er segmentering?
Segmentering er at kende sin målgruppe. Mere specifikt, så bliver man fortrolig med publikum ved at opdele dem i grupper (segmenter), hvor medlemmer af hver gruppe har lignende præferencer. F.eks. kan familier ‘for at være ét segment, “studerende” kan være en anden. Den segmentoppdelingen spænder fra undersøgelsen som grundlag for kategorierne.

Segmentering kan gøres på mange forskellige måder, ofte ved hjælp af komplekse og i mange tilfælde dyre systemer og metoder. Den enkleste, som de fleste kulturinstitutioner bruger, er en form for billettering, der gør det muligt at indsamle flere oplysninger, end hvis billetten bare blev købt alene. For eksempel giver den mulighed for at få kontaktoplysninger og andre oplysninger, der kan fortælle mere om, hvem denne ukendte publikumstørrelse består af.

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