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THE ARTS COUNCIL OF NEW ZEALAND TOI AOTEAROA1120audience 360°report

AcknowledgementsAcknowledgementsPurple Seven

Pacific Micromarketing’s Mosaic™

Morris Hargreaves McIntyre

Participant organisationsAuckland Philharmonia Orchestra

Auckland Theatre Company

Capital E – National Theatre for Children

Christchurch Symphony Orchestra

Centrepoint Theatre

Circa Theatre

Court Theatre

Downstage Theatre

Fortune Theatre

Gallagher Academy of Performing Arts*

Hamilton City Theatres

Hawke’s Bay Opera House*

Isaac Theatre Royal*

Maidment Theatre – Te Atamira

NBR New Zealand Opera

Positively Wellington Venues (St James Theatre and Wellington Opera House, Michael Fowler Centre, Wellington Town Hall and TSB Bank Arena)

PumpHouse Theatre

Q Theatre

Royal New Zealand Ballet

Royal Wanganui Opera House

Skycity Theatre*

The Auckland Performing Arts Centre (TAPAC)

The EDGE®

TSB Showplace*

Turner Centre at Kerikeri

AssistancePatronBase

Ticketmaster

Ticketek New Zealand

*Comparable data is not available for both 2010 and 2011 for these organisations so they are not covered in this report.

ContentsIntroduction

Executive summary

Methodology

About Vital StatisticsAbout Mosaic™Coding using Mosaic™About Culture SegmentsHow to read the data in this reportArtform classificationsOther data

Key findings

Who booked for the arts in 2011?

Mosaic™ groups: 2010 compared to 2011

Purchase patterns

Seasonality

Appendix A: Segmentation

Geographic segmentationDemographic segmentationPsychographic segmentationCulture Segments

Appendix B: Survey findings

Key findingsHorizontal subscriptionsOther findings

Conclusion

Glossary of terms

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IntroductionRecent research commissioned by Creative New Zealand shows that 95 percent of New Zealanders have been to at

least one arts or culture event in the last three years¹.

This means there is a large market of culturally active people.

I invite you to use this report – and the other research and analysis provided by Creative New Zealand – to

understand your audience and create a deeper engagement with them.

The Audience 360° Report 2011 is one of the tools provided by Creative New Zealand to help arts organisations and

venues tap into their potential market and sell tickets. It does this by analysing box office data to give insights into

the purchasing behaviour of New Zealand audiences.

In this report there is encouraging news.

As expected, the results for this report have been affected by the devastating Christchurch earthquakes – with two-

thirds of Christchurch people attending arts events less frequently than usual². However, when data collected from

Christchurch is removed the number of visits and tickets sold in 2011 has increased by 8.5% and 7.6% respectively

when compared to the previous 12 months, while total revenue has increased by 3.4% to $40.59 million.

Once again, I would also like to extend my thanks to the 25 organisations who are participating in Audience 360°.

Stephen Wainwright

Chief Executive

¹ Audience Atlas New Zealand 2011 – www.creativenz.govt.nz/audienceatlas² New Zealanders and the Arts 2011 – www.creativenz.govt.nz/nzersandthearts

3 Arts Council of New Zealand Toi Aotearoa Audience 360° report 2011

Executive summaryThe year 2011 was marked by one of the most

significant natural disasters in New Zealand history

– the 22 February earthquake in Christchurch. The

aim of the Audience 360° Report 2011 is to present a

‘health report’ on paid attendance at New Zealand

arts events and, as such, it is impossible not to

consider the impact of this major event.

» Visits made and tickets sold peaked in May with 11% of all tickets sold and over 15% of visits made in this month.

» The most revenue generated in a month was in March.

» 37% of visits were made in the months of March, May and November.

» As in 2010, January showed the least amount of activity across all of the transactional measures with 2.45% of total revenue generated in the month, compared to 1.94% in 2010.

» 54% of tickets were sold between Tuesday and Thursday and only 15% of tickets were sold on weekend days.

» 63% of bookings were made in the four weeks prior to an event, compared to 68% in 2010. 34% were sold within a week of the performance, compared to 35.4% in 2010.

» There has been a decrease in ticket sales of 1.5% and revenue of less than 0.4% from the previous year.

» A comparison of ticket sales, excluding organisations directly affected by the February 2011 earthquake in Christchurch, shows the number of visits and tickets sold has increased by 8.5% and 7.6% respectively and revenue was up almost 3.5%, in 2011 compared to 2010.

» The incidence rate of No Data Available (NDA) due to partial or incomplete address capture at point-of-sale has been reduced from 49.5% in 2010 to 26.5% in 2011.

» The most significant audience growth areas have been in the lower socio-economic Mosaic™ Groups.

No. of households (NZ) No. of visits No. of performances

Average ticket priceRevenueNo. of tickets

185,877 (1,666,000) 299,469 5,427

$39.50$40,589,5301,027,547

The Audience 360° Report 2011 covers a full

calendar year from 1 January to 31 December 2011.

The analysis in this report signifies a minimum level

of paid arts attendance at many of New Zealand’s

principal venues and arts organisations in the period

1 January 2011 to 31 December 2011, rather than a

comprehensive national overview.

Arts Council of New Zealand Toi Aotearoa Audience 360° report 2011 4

MethodologyThree key methodologies are used to evaluate

audiences in this report; behavioural analysis based

on transactional box office data (e.g. frequency of

attendance, average spend, purchase patterns), geo-

demographic profiling (e.g. age, income, origin etc)

and psychographics (motivations, attitudes, lifestyle,

beliefs and values).

Four key measures have been identified to describe

audience growth:

» number of household bookers

» number of visits made

» number of tickets sold

» amount of ticket revenue generated

Currently most box office systems only collect data

about the individual making a booking, not the group

(regardless of composition) they are booking for. As

a result, analyses are carried out at household level,

rather than individual level.

The 25 venues and arts organisations participating

in the Audience 360° programme are broadly

representative of a national overview, but cannot

be considered comprehensive. The data that can be

analysed provides a minimum sample size on which

to base representative conclusions about national

trends, but represents a minimum level of arts

attendance in the calendar year 1 January 2011 to 31

December 2011.

In order to draw accurate comparisons to the previous

year’s findings, some data has been excluded where

particular organisations and venues could not provide

comparison data for 2010 versus 2011. This accounts

for anomalies between 2010 data in this report and

the equivalent figures presented in the 2010 report.

Full details of exclusions can be obtained by

contacting Creative New Zealand:

[email protected]

About Vital StatisticsUsing the Vital Statistics Agency software, Creative

New Zealand has built a database of anonymised

box office data from around the country. Data is

transferred daily from ticketing systems with DDX

(direct interface) and regularly by manual upload from

non-DDX systems.

As well as enabling national trend analysis in the

Audience 360° report, Creative New Zealand is able

to prepare reports for participating organisations that

covers their specific audience’s booking behaviour,

trends and benchmarks with similar participant

venues and arts organisations.

About Mosaic™Pacific Micromarketing (part of PMP NZ Ltd) is the sole

provider of Mosaic™ in New Zealand.

Mosaic™ is a household classification system in New

Zealand, which segments customers into 11 geo-

demographic groups and 42 specific types. It is built

using Census, Property IQ rating valuation and LINZ

data, as well as behavioural and attitudinal research

data.

Mosaic™ is a useful way to understand more about

customers and what type of households buy tickets

to performances (e.g. likely age range, marital status

etc) and where they live geographically.

Coding using Mosaic™In total, Pacific Micromarketing were able to identify

136,600 households (73.5% of total households)

booking for the arts in 2011 compared to 50.5% in

2010. This represents a marked improvement in data

capture at point-of-sale by participating organisations

and means there were adequate address details

captured to enable them to be coded with a Mosaic™

group.


The remaining 26.5% of customer records have not

been coded with a Mosaic™ group because:

» Their full address details were not captured accurately at point-of-sale.

» A Post Office box address was used, which cannot

be Mosaic™ coded.

About Culture Segments Segmentation is a valuable tool to help organisations

understand their audiences in new ways and build

stronger relationships with them. Culture Segments is

a whole-of-marketplace segmentation system devised

by Morris Hargreaves McIntyre (MHM) for the cultural

market. Creative New Zealand commissioned MHM

to develop Culture Segments New Zealand to provide

the sector with a shared language and understanding

of local audiences, with a view to targeting them

more accurately, engaging them more deeply and

building lasting relationships with them. More details

on Culture Segments can be found in Appendix A on

page 15 of this report. The full Culture Segments New

Zealand report can be downloaded at

www.creativenz.govt.nz/culturesegments

How to read the data in this reportIn spite of improvements in household record

data capture, the Mosaic™ analysis in this report

amounts to a sample of the dataset, rather than a

comprehensive census of all attendees. It is important

to note that it is often door sales and late bookings

that account for large numbers of NDA (No Data

Available) records. Therefore the sample may be

indicative, but is not representative of audiences for

the arts.

An inability to code a household record with a

Mosaic™ group does not necessarily mean that the

record had zero data captured. Partial and incomplete

addresses exist for over 80% of the records that were

not Mosaic™ coded. From this partial data it can be

determined that these are:

» unique households

» within New Zealand (and not overseas).

As such, market size and potential can be calculated

including records with partial address data, not just

those with a Mosaic™ code.

Artform classificationsEvents in the project database have been coded by

artform in two tiers. The top tier adopted by Creative

New Zealand is based on a common set of artforms

designed by Audience Data UK. The next tier provides

more detail and is based on Creative New Zealand

funding classifications.

A complete list of the classifications covered by this

report can be obtained from Creative New Zealand

by emailing [email protected]. All

classified artforms were included in this analysis.

However, the performing arts are predominant with

theatre, music and dance representing 86% of the

tickets sold. Several participating venues sell tickets

to pan-art festival events where individual event

information is not available and therefore specific

artform classifications cannot be coded to these

events.

The sample data for literature, visual arts, digital arts

and educational arts activities is not representative

and therefore detailed analysis for these artforms is

not provided in this report.

Other dataMorris Hargreaves McIntyre conducted a short online

survey in early 2012 to analyse Culture Segments

and other behaviours, from a random sample of

ticket buyers from participating venues and arts

organisations.

Key findings and analysis of this survey can be found in

Appendix B on page 17.


Technical note:

Analysis has only been conducted where comparable data is available for both 2010 and 2011. Please see the list on the inside front cover for exclusions.

Please see the glossary of terms on page 22.

Key findings

The number of households purchasing tickets to the arts is up by 0.5% and the number of visits and number of

tickets sold are up by 8.5% and 7.6% respectively. The total revenue is also up by 3.4% so we can surmise that the

negative impact of the Christchurch earthquake across these key measures, was only felt at a local level.

No. of households No. of visits No. of performances Average ticket priceRevenueNo. of tickets

-5.46% -1.41% +1.08% +1.15%-0.36%-1.50%

Variance: 2011 vs 2010

No. of households (2010) No. of visits RevenueNo. of tickets

+0.5% +8.5% +3.4%+7.6%

It is significant that despite more performances in 2011 there were fewer tickets sold in total. It is possible that one

or two events (such as Etiquette at Downstage Theatre) that featured large numbers of performances with a small

audience capacity at each performance could account for this anomaly.

The comparisons above include data from two organisations based in Christchurch – Court Theatre and Christchurch

Symphony Orchestra – that were both severely affected by the tragic earthquake in Christchurch on 22 February

2011. In the ten months following the earthquake the combined revenue of these organisations dropped by 54% and

the number of tickets sold, by 66% compared to the same period in 2010 (which also felt the negative impact on

sales for the last quarter due to the first major Christchurch earthquake in September 2010).

In 2010, the combined households booking for performances at Court Theatre and Christchurch Symphony

Orchestra accounted for 11% of the total households in the sample. Therefore the impact on their revenue and ticket

sales is felt significantly in the combined sample in 2011.

The table below shows the same comparison data excluding Court Theatre and Christchurch Symphony Orchestra:


* Other Musicals includes Vocal, Improvised Music, Band, Folk/Country, Gospel, Youth Music, Music in Education, Children’s Music.

** Other Theatre includes Community, Street, Children’s and Circus Theatre, Puppetry, Variety, Cabaret, Experimental and Youth Theatre.

*** Other Dance includes Experimental, Popular, Community, Cross-Cultural, Children’s and Youth Dance and Dance in Education.

For a full description of all classifications please visit the Creative New Zealand website at www.creativenz.govt.nz

Music has had a marked decrease in 2011 compared to 2010; this is largely due to a dramatic decrease in the

number of musical performances and related ticket sales and revenue (almost $5.5 million). The impact of the

February 2011 earthquake in Christchurch on the Christchurch Symphony Orchestra accounts for the decrease in

classical instrumental music across all measures.

Theatre has experienced increases across all three measures – tickets, revenue and number of performances –

however the increase in revenue has been significant at 23.4% compared to 2010. Contemporary theatre has been

successful with a 66% increase in ticket sales and 125.1% increase in revenue thanks to increased programming with

a 78.6% increase in the number of contemporary theatre performances in 2011.

Increases in tickets and revenue for dance are mainly due to the success of European classical dance – in particular

the Royal New Zealand Ballet – in 2011.

As the number of households booking tickets is relatively static, but there are dramatic increases in the number of

visits made and tickets bought, we can conclude that frequency of attendance has increased in 2011. This could be

due to a number of factors, such as the improved economic situation in New Zealand and more effective audience

development strategies by the participating organisations. As the increased total revenue is tracking at a lower rate

than tickets and visits it suggests that more tickets at lower prices have been made available.

Artform comparisons between 2010 and 2011

General Artform 2010 2011 % Variation

First tier classification Tickets Revenue Tickets Revenue Tickets Revenue Performances

Music 411,477 $22,320,614 351,859 $19,234,152 -14.5% -13.8% -18.7%

Contemporary Music Culture 73,487 $4,751,417 112,211 $8,277,340 52.7% 74.2% 4.2%

Classical Instrumental Music 67,830 $2,444,716 63,794 $2,384,090 -6.0% -2.5% -12.7%

Opera 35,404 $2,578,430 35,958 $2,330,109 1.6% -9.6% -20%

Musicals 148,546 $9,486,329 72,830 $3,987,277 -51.0% -58.0% -52.3

Other Music* 86,210 $3,059,723 67,066 $2,255,337 -22.2% -26.3% -0.6%

Theatre 477,106 $12,858,726 509,010 $15,865,359 6.7% 23.4% 2.1%

NZ Theatre 113,543 $2,707,054 84,040 $2,414,210 -26.0% -10.8% -25.1%

Contemporary Theatre 40,751 $967,773 67,641 $2,178,692 66.0% 125.1% 78.6%

Classical Theatre 65,851 $2,253,876 31,515 $909,223 -52.1% -59.7% -35.5%

Family Entertainment 48,755 $1,897,965 37,151 $1,075,375 -23.8% -43.3% -21.1%

Comedy Theatre 70,678 $2,396,445 85,332 $3,778,343 20.7% 57.7% 4.5%

Other Theatre** 137,528 $2,635,613 203,331 $5,509,517 47.8% 109.0% 20.8%

Dance 83,883 $3,547,969 86,618 $3,843,373 3.3% 8.3% -3.5%

Contemporary Dance 10,701 $363,934 12,453 $292,292 16.4% -19.7% 11.2%

European Classical Dance 38,272 $1,727,641 54,242 $2,876,562 41.7% 66.5% 58.5%

Classical Dance Other Cultures 13,288 $597,181 5,835 $344,148 -56.1% -42.4% -27.8%

Other Dance*** 21,622 $859,213 14,088 $330,371 -34.8% -61.5% -46.8%


18.0%

1.3%

16.1%

8.8%

20.2%

1.0%

8.8%

7.3%

9.0%

5.4%4.2%

Mosaic™ Group % of total

Avg. Spend Per Visit

Avg. Tickets

Per Visit

Avg.Price Per

Ticket

% of total

revenue

Urban Intelligence 20.2% $135.27 2.98 $45.43 21.5% Stylish young professionals living close to the city centre

Family Growth 18.0% $141.57 2.92 $48.42 16.4% Young families often living in cities

Suburban Comfort 16.1% $147.82 2.98 $49.61 16.1% Wealthy areas of educated professional family households

Symbols of Success 9.0% $144.86 3.05 $47.50 11.0% The most affluent households in the most desirable suburbs

Singles & Starters 8.8% $129.11 2.91 $44.35 8.4% Students and younger workers living in high density, lower cost suburbs

Working Fringe 8.8% $145.62 3.02 $48.25 7.8% Mixed families with stretched budgets in outer suburbs

Rural Living 7.3% $160.94 3.10 $51.85 7.1% Rural landowners and workers in farming heartlands

Provincial Pride 5.4% $144.33 2.94 $49.02 5.1% True Kiwis in provincial towns

Community Challenge 4.2% $161.20 3.76 $42.81 4.4% Low income, low spending households

Cultural Ties 1.3% $145.82 4.90 $29.74 1.1% Areas with high cultural diversity

Grey Power 1.0% $143.19 3.25 $44.00 1.1% Retirees enjoying the end of a long life

Who booked for the arts in 2011?


18.0%

1.3%

16.1%

8.8%

20.2%

1.0%

8.8%

7.3%

9.0%

5.4%4.2%

2010

-0.5

-0.6+1.3

-1.6

+0.6

+0.2

+0.3

+0.3

+0.2

-0.1

-0.1



Avg. Tickets

Per Visit

Avg.Price Per

Ticket

% of total

revenue

2011 vs 2o1o

Urban Intelligence 20.2% £135.27 2.98 £45.43 21.5% Stylish young professionals living close to the city centre

Family Growth 18.0% £141.57 2.92 £48.42 16.4% Young families often living in cities

Suburban Comfort 16.1% £147.82 2.98 £49.61 16.1% Wealthy areas of educated professional family households

Symbols of Success 9.0% £144.86 3.05 £47.50 11.0% The most affluent households in the most desirable suburbs

Singles & Starters 8.8% £129.11 2.91 £44.35 8.4% Students and younger workers living in high density, lower cost suburbs

Working Fringe 8.8% £145.62 3.02 £48.25 7.8% Mixed families with stretched budgets in outer suburbs

Rural Living 7.3% £160.94 3.10 £51.85 7.1% Rural landowners and workers in farming heartlands

Provincial Pride 5.4% £144.33 2.94 £49.02 5.1% True Kiwis in provincial towns

Community Challenge 4.2% £161.20 3.76 £42.81 4.4% Low income, low spending households

Cultural Ties 1.3% £145.82 4.90 £29.74 1.1% Areas with high cultural diversity

Grey Power 1.0% £143.19 3.25 £44.00 1.1% Retirees enjoying the end of a long life



Avg. Tickets

Per Visit

Avg.Price Per

Ticket

% of total

revenue

Urban Intelligence 20.2% $135.27 2.98 $45.43 21.5% Stylish young professionals living close to the city centre

Family Growth 18.0% $141.57 2.92 $48.42 16.4% Young families often living in cities

Suburban Comfort 16.1% $147.82 2.98 $49.61 16.1% Wealthy areas of educated professional family households

Symbols of Success 9.0% $144.86 3.05 $47.50 11.0% The most affluent households in the most desirable suburbs

Singles & Starters 8.8% $129.11 2.91 $44.35 8.4% Students and younger workers living in high density, lower cost suburbs

Working Fringe 8.8% $145.62 3.02 $48.25 7.8% Mixed families with stretched budgets in outer suburbs

Rural Living 7.3% $160.94 3.10 $51.85 7.1% Rural landowners and workers in farming heartlands

Provincial Pride 5.4% $144.33 2.94 $49.02 5.1% True Kiwis in provincial towns

Community Challenge 4.2% $161.20 3.76 $42.81 4.4% Low income, low spending households

Cultural Ties 1.3% $145.82 4.90 $29.74 1.1% Areas with high cultural diversity

Grey Power 1.0% $143.19 3.25 $44.00 1.1% Retirees enjoying the end of a long life

2011 compared to 2010


Working Fringe

Cultural Ties

Rural Living

Community Challenge

Provincial Pride

Grey Power

Singles & Starters

Symbols of Success

Family Growth

Suburban Comfort

Urban Intelligence +15

+5

+8

+4

-9

-6

-3

-5

-7

-2

Bookings for the arts in 2011 came from 136,600

households that could be verified as being at an

identifiable New Zealand postal address. This

represents 8.2% of the total households in New

Zealand (based on a Mosaic™ New Zealand household

estimate of 1,666,000).

The most prominent groups for arts attendance in

New Zealand are:

» Urban Intelligence (20.2%)

» Family Growth (18%)

» Suburban Comfort (16.1%)

Combined, these make up 54.3% of the audience in

2011, but these groups only represent approximately

32% of all New Zealand households.

Urban Intelligence accounts for 20.2% of the total

households, 21.5% of the total revenue but only 4.8%

of the total New Zealand population, making them

four times more likely to book tickets to arts events

It is important to note that although venues and arts

organisations are more successful at reaching the top

four Mosaic™ Groups there is still potential in all of

those segments, particularly Family Growth – which

accounts for 12.6% of the population. The greatest

potential for growth is in Working Fringe. The group

is under-represented in the ticket buying households,

but the group accounts for almost a fifth of the New

Zealand population.

For more information about the Mosaic™ Groups

please visit www.mosaic.co.nz

Who booked for the arts in 2011?than the average. Symbols of Success, followed

by Suburban Comfort also show the next highest

propensity to buy tickets to the arts.

The main characteristics of these attendees are that

they are likely to be aged 25-54, have high household

incomes and are likely to be a mixture of families or

young couples and singles.

Grey Power was the least represented Mosaic™ Group,

followed by Cultural Ties who are four times less

likely to book for an event than the average. However,

Working Fringe demonstrates the lowest relative level

of interest in purchasing tickets.

The table below represents the relative levels of

interest of the 11 Mosaic™ groups based on the

proportion of households in the audience compared

to the proportion of households from that group in the

New Zealand population:


20.7%

10.6%

16.7%

7%

5.5%

1.1%

1.1%3.9%

8.6%

16.7%

8.2%

2010

20.2%

9%

16.1%

7.3%

5.4%

1%

1.3%4.2%

8.8%

18%

8.8%

2011

Working Fringe

Urban Intelligence

Symbols of Success

Suburban Comfort

Singles & Starters

Rural Living

Provincial Pride

Grey Power

Family Growth

Cultural Ties

Community Challenge

Although the Mosaic™ group sizes in the households we measured have remained approximately the same size in

2011 compared to 2010, it is encouraging to note that the growth areas have come in the lower socio-economic

groups such as Community Challenge, Working Fringe and Family Growth. However, as the total number of

households remains fairly static it means that this growth is at the expense of households in the more affluent

groups such as Urban Intelligence, Symbols of Success and Suburban Comfort.

Venues and organisations may have offered more low-priced tickets in 2011, which is attracting a more socio-

economically diverse audience.

Mosaic™ groups: 2010 compared to 2011


A third of all tickets sold and revenue generated was on the day or the week leading up to an event or performance.

As in 2010 it is the most significant booking week for venues and arts organisations in the lead up to an event,

although the average spend and price paid per ticket is lower than the average on the day of and day before an event

or performance.

This means that venues and organisations are either reducing the ticket prices for unsold capacity close to the

performance date or availability of more expensive ticket types is limited.

Purchase patterns

28% of tickets were sold between eight and 28 days before a performance or event, and 35.7% were sold more than

four weeks prior to a performance or event.

We provide further insight into purchase patterns and booking behaviour in Appendix B on page 17.

In a survey of 1,894 randomly-selected ticket buyers from the Audience 360° data set 90% of people said they had

considered attending at least one performance or event that they did not attend. 49% said one of the reasons they did

not attend, was the price of tickets and 22% said it was the cost of travel and tickets combined.

What would the impact be on purchase patterns if we had tickets available at the right price point earlier than the day of or day before a performance?

The rate of partial or incomplete audience data capture in the final week before a performance is significantly higher

than the average so, although there has been a marked improvement in the incidence rate of NDAs (No Data Available)

in 2011 compared to 2010, it is still an issue that will impact on venues’ and arts organisations’ ability to develop

audiences through accurate analysis of their booking behaviour.

TICKETS, REVENUE, VISITS, HOUSEHOLDS AND AVERAGE SPEND, TICKETS AND PRICE PER TICKET BY BOOKING TIME

Tickets Revenue Visits Households Avg. Spend

Per Visit Avg. Tickets

Per Visit Avg.Price Per

Ticket On the Day 98,314 $2,443,879.47 28,486 22,353 $85.79 3.451309415 $24.86 Day Before 60,286 $1,906,361.52 22,001 19,398 $86.65 2.740148175 $31.62 Over 365 Days 7,011 $244,819.25 2,620 1,656 $93.44 2.675954198 $34.92

2 - 7 Days 188,929 $6,964,830.42 63,489 51,162 $109.70 2.975775331 $36.86 8 - 14 Days 129,989 $4,475,236.07 37,748 31,533 $118.56 3.443599661 $34.43 15 - 28 Days 158,674 $5,929,536.33 42,047 34,906 $141.02 3.773729398 $37.37 29 - 60 Days 177,767 $7,537,994.68 42,701 34,986 $176.53 4.163064097 $42.40

61 - 90 Days 65,669 $3,774,245.10 19,116 16,900 $197.44 3.43528981 $57.47 91 - 110 Days 32,546 $2,090,912.12 9,055 8,243 $230.91 3.594257316 $64.24 111 - 250 Days 74,412 $4,325,506.46 22,768 16,034 $189.98 3.268271258 $58.13 251 - 365 Days 16,713 $725,174.05 6,274 3,817 $115.58 2.663850813 $43.39

No Booking Time 17,237 $171,034.45 3,164 2,639 $54.06 5.447850822 $9.92 Total 1,027,547 $40,589,529.92 299,469 185,877 $135.54 3.431229944 $39.50

Thursdays are the most popular day to book (18.6%) and Sundays the least popular (8.9%)


0

5

10

15

20% Visits

% Revenue

% Tickets

% Performances

1 Jan

1 Feb

1 Mar

1 Apr

1 May

1 Jun

1 Jul

1 Aug

1 Sep

1 Oct

1 Nov

1 Dec

Seasonality

On the whole the percentage of visits, revenue

and tickets is directly correlated to supply i.e.

the number of available performances. The most

significant exceptions are in July and September when

revenue, tickets and visits dip while the number of

performances and events peak. In November the

reverse happens – the number of performances dips

but the other three measures peak.

The anomaly in July cannot be wholly attributed to an

increase in the number of performances with small

capacities, though there is some evidence to suggest

that this may have contributed to it (e.g. low-priced

school holiday activities in smaller venues). However,

supply has almost certainly been too great for

demand during July; with revenue the second lowest

of any month apart from the other main school holiday

month, January. July was one of the strongest months

financially in 2010 which suggests that programming

(that included three separate festival events) was

meeting the needs of audiences more effectively

during this period than in 2011.

The Rugby World Cup 2011 is likely to have resulted

in an increase in the number of performances in

September as organisations responded to predicted

audience demand. However, the dip in visits, tickets

and revenue suggests that supply outstripped demand

during the month.

As the Rugby World Cup event reached its conclusion

in October the general trend of visits, tickets

and revenue tracking alongside the number of

performances is restored. In November the situation

reverses and visits, tickets and revenue index higher

than the number of available performances. This

suggests that, though there were fewer events on

offer, there were more seats at each performance and

more tickets available at higher prices.


Appendix A: SegmentationMarket segmentation is a marketing strategy that

involves dividing a broad target market into subsets of

consumers who have common needs and applications

for the relevant goods and services. Depending on the

specific characteristics of the product, these subsets

may be divided by criteria such as age and gender, or

other distinctions, like location or income. Marketing

campaigns can then be designed and implemented to

target these specific customer segments.

Mosaic™ is a geo-demographic segmentation tool and

Culture Segments is a psychographic tool.

Geographic segmentationThe market is segmented according to geographic

criteria e.g. countries, states, regions, districts,

cities, suburbs or postcodes. A geo-cluster approach

combines demographic data with geographic data

to create a more accurate profile of specific groups.

Regional variations mean organisations can focus

on particular propositions for specific regions. For

example, an organisation can focus on travel and

parking options for audiences living in more remote or

distant regions.

Demographic segmentationDemographic segmentation consists of dividing the

market into groups based on variables such as age,

gender, family size, income, occupation, education,

religion, race and nationality.

As you might expect, demographic segmentation

variables are amongst the most popular bases for

segmenting customer groups.

Demographic segmentation assumes that consumer

wants and needs are closely linked to variables

such as income and age. Also, for practical reasons,

there is often much more data available to help with

the demographic segmentation process. However,

individuals within the same demographic group often

exhibit very different psychographic profiles. Research

indicates that people’s attendance at arts and cultural

events is directly correlated to their relationship

– at a core value level – with arts and culture. As

a result, it is advisable to adopt a psychographic

approach to segmentation, in addition to utilising geo-

demographics when marketing and communicating

arts and cultural events or performances.

Psychographic segmentationPsychographics is the science of using psychology

and demographics to better understand consumers.

Psychographic segmentation involves audiences being

divided into groups according to their lifestyle, beliefs,

personality, attitudes and values.

Culture SegmentsCulture Segments is a new, sector-specific

segmentation system for arts, culture and

heritage organisations that was developed using a

psychographic approach. The system is powered

by data from Audience Atlas New Zealand, and

draws upon a decade’s leading-edge practice in New

Zealand, Australia and the United Kingdom to help

arts organisations understand and meet the needs

of their audiences and visitors. The segments are

distinguished from one another by deeply-held beliefs

about the role that arts and culture play in their lives,

enabling organisations to get to the heart of what

motivates each segment and to develop strategies to

engage them more deeply.


Detailed information on Culture Segments and the New Zealand market can be found in the Audience Atlas New Zealand Report 2011 at www.creativenz.govt.nz/audienceatlas and the Culture Segments New Zealand pen portraits report at www.creativenz.govt.nz/culturesegments

EXPRESSION Receptive

Confident

Expressive

Community

26% of adult New Zealanders in the market for Culture

10%

7%

10%

12%

10%

9%

17%

AFFIRMATION

Self-identity

Aspirational

Quality Time

Improvement

ENTERTAINMENTConsumers

Popularist

Leisure

Mainstream

PERSPECTIVESettled

Self-sufficient

Focused

Contented

ENRICHMENT

Mature

Traditional

Heritage

Nostalgia

ESSENCE

Discerning

Spontaneous

Independent

Sophisticated

STIMULATION

Active

Experimental

Discovery

Contemporary

RELEASE

Busy

Ambitious

Prioritising

Wistful

26%

17%

10%

7%

12%

10%

10%

9%


Stimulation

Release

Perspective

Expression

Essence

Entertainment

Enrichment

Affirmation -2

-1

-6

+11

-2

-3

+3

Survey respondents Culture Segments against NZ Culture Market

Appendix B: 2011 survey findingsIn addition to the data collected as part of the Audience 360° programme Creative New Zealand commissioned

Morris Hargreaves McIntyre to conduct a short online survey with a randomly-selected group of ticket buyers from

the Vital Statistics Agency Database.

The survey was designed and analysed by Morris Hargreaves McIntyre and administered by ten of the participating

organisations (Auckland Philharmonia Orchestra, Turner Centre at Kerikeri, Court Theatre, Downstage Theatre,

Fortune Theatre, Hamilton City Theatres, Maidment Theatre, Royal New Zealand Ballet, Royal Wanganui Opera

House, THE EDGE®).

This short appendix aims to add some insight to the analysis of audiences’ motivations, attitudes and behaviour

covered by the main report. The analyses below are a selection of key findings. Participating organisations may

contact Creative New Zealand by emailing [email protected] for the full dataset.

It is important to note that the sample is a snapshot of the audiences represented in the Audience 360° data. It is

not representative, but still provides some useful insight.

Key findings » 96% of respondents have attended at least one performing arts event in the last 12 months.

» 74% have been to visual arts events, 17% to literature events, 14% to Māori arts events and 11% to Pacific arts events.

» 13% of respondents have attended performances, exhibitions or cultural events with children more than three times in the last 12 months.

» 32% have attended with children once or twice in the last year and 54% have not attended with children.

» 41% of respondents have donated to arts, cultural or heritage organisations in the last 36 months.

Survey respondents’ Culture Segments vs New Zealand Culture Market

The Essence and Stimulation segments

are over-represented in the sample

compared to the total New Zealand

market for culture. Entertainment is the

most under-represented segment.


No

Yes – lapsed

Yes – current

Have you ever been a Subscriber at an arts organisation or cultural venue?

39%45%

16%

Have you ever been a subscriber to an arts organisation or cultural venue?

Reasons for subscribers not renewing

Essence show the greatest propensity to subscribe, with 45% of respondents in the Essence segment currently

subscribing, followed closely by Expression (44%) and Enrichment (43%). The fewest current subscribers are in

the Stimulation (29%) and Entertainment (16%) segments which corresponds with what we know about these

segments. However, only 80 respondents were in the Entertainment segment so the small base should be taken into

consideration when reviewing these findings.

63% of current subscribers say the main reason they do so is because they want to support the organisation. 37%

say their main reason to subscribe is for the benefits they receive (such as cheaper tickets).

0% 5% 10% 15% 20% 25% 30% 35%

No particular reason

Other

Change in personal circumstances

Could no longer afford the subscription

Wasn't able to use all the tickets in the subscription package

Wanted additional benefits e.g. discount in shop or café or priority booking but the subscription scheme didn't offer this

Wanted to be able to attend different types of artform e.g. plays and comedy but couldn't do this with the subscription scheme

Wanted to be able to buy different numbers of tickets for differentperformances but couldn't do this with the subscription scheme

Wanted to be able to sit in different seats for different per-formances but couldn't do this with the subscription scheme


Survey: Horizontal subscriptionsWe asked respondents a series of questions to gauge their relative interest levels in flexible – or horizontal –

subscriptions. For each question the respondent was asked to record their relative interest level on a scale of 0 to

10, with 0 being not interested and 10 being extremely interested.

The following scores are out of a possible 100 (where every respondent is extremely interested) and are calculated

using the following formula:

As you can see from the table above respondents showed low levels of interest in the flexible subscription offers,

although flexible seat choice was the most favoured option. It is important to note that a high percentage of

respondents are current or previous subscribers (55%) compared to less than 5% in the total culture market.

On the basis of the evidence above, introducing flexibility (other than seats) to current subscribers’ memberships

would not be well received, but may be appealing to audiences who are not traditional subscribers.

The Essence, Expression and Stimulation segments showed the highest levels of interest in all four of the flexible

subscription options.

82% of respondents said they tend to agree or definitely agree that they ‘attend a range of different venues for

different events’ and only 16% definitely agree that they ‘are a loyal supporter of just one or two organisations’ which

suggests that there is a willingness and interest in a wide range of venues and events. However, the options for

flexible subscriptions have shown low levels of interest in the survey. Without further testing it is impossible to fully

understand why this is, but we can speculate that the traditional perception of a ‘subscription’ means that adding

flexibility still does not interest these audiences, even though it would seem to meet their needs.

This data suggests that in order to attract people to purchase multiple tickets in advance then greater steps will

need to be made to differentiate the offer from the traditional subscription proposition.

0 1 2 3 4 5 6 7 8 9 10Detractors Passive Promoters

Total% of Detractors

(0 through 6)% of Promoters

(9s and 10s)

Not interested Neutral Extremely interested

= -+3

-36

-40

-31

Flexibility on seat choice

Flexibility on ticket numbers

Offer of different artforms at same venue

Multi-venue subscription

Flexible subscription options

Calculating net promoter score


No

Yes

Have you donated any money to arts, cultural, or heritage organisations in the past three years?

41%

59%

Survey: Other findings

Essence (47%) and Expression (45%) are the most likely to donate. Entertainment are the least likely to donate to

an arts, cultural or heritage organisation, although the Entertainment base (80 respondents) is the smallest and

therefore this result should be treated with caution.

90% of respondents said there had been a performance or event that they considered attending in the last 12

months but didn’t get to see. In the chart below we see the reasons that were given for non-attendance. The most

common reason given (49% of respondents) was that it was too expensive.

0% 10% 20% 30% 40% 50%

Other

Other exhibitions / events on at same time took priority

Couldn't find someone to go with

I never got around to it

Although I didn't try I just assumed it was sold out

It was just too much trouble

The total cost of the trip and tickets would have been too expensive

There were no suitable time slots available

I turned up at the venue expecting to get in but it was sold out

It was sold out when I tried to book tickets in advance

By the time I'd heard about the performance/event it was too late to attend

I forgot about it until it was too late to attend

The venue was too far from where I live

It didn't look as appealing when I explored it in detail

I have had a bad experience of performances/events at that venue before

I didn't like the venue where it was held

It was too cheap so I had low expectations of it

It was too expensive

I heard negative word of mouth about the performance/event

I read bad reviews in the press

Reasons for non-attendanceReasons for non-attendance

Have you donated to arts, cultural or heritage organisations in the last three years?


ConclusionThe report provides encouraging reading with the four key measures – number of visits, households, tickets sold

and revenue – all comparing favourably under the circumstances. The most interesting comparison comes when we

exclude data from the organisations directly affected by the earthquake in Christchurch in February 2011, with all

four key measures having increased significantly compared to 2010.

Although it is impossible to measure the full economic impact of the arts (employment, retail, hospitality, travel,

services etc) in the context of this project the financial implications on the local economy of the 20 organisations

whose data is included in this report, is considerable, reaching over $40.5 million.

Creative New Zealand’s recent New Zealanders and the Arts¹ study showed that 85% of New Zealanders have

attended or participated in some form of arts and cultural activity in the last 12 months and Audience Atlas New

Zealand 2011² showed that 95% of New Zealanders are in the market for culture. The growth in some of the lower

socio-economic Mosaic™ Groups in 2011 shows that venues and arts organisations are successfully reaching a more

diverse audience.

As Creative New Zealand invests in building Audience Capital using customised tools such as Culture Segments, it

will become easier for organisations to begin to measure the social impact on these audiences, which will provide

powerful advocacy for sustained support from both the public and private sector.

¹ Available in hard copy by request or to download from www.creativenz.govt.nz/nzersandthearts

² Available to download from www.creativenz.govt.nz/audienceatlas


Attendee: describes anyone who has booked paid tickets to arts events from any of the participating venues and organisations.

Audience Capital: is a measure developed by Morris Hargreaves McIntyre to quantify the value of an audience’s

investment (e.g. support, time, money etc) – or the stake they hold – in a venue or arts organisation.

Culture Segments: Culture Segments is a sector-specific psychographic segmentation system for arts, culture and

heritage organisations.

Household: a household is either one person who usually resides alone, or two or more people who usually reside

together and share facilities (such as eating facilities, cooking facilities, bathroom and toilet facilities and a living

area), in a private dwelling (Statistics New Zealand Tatauranga Aotearoa).

Mosaic™ NZ: Mosaic New Zealand is a geo-demographic classification tool that describes New Zealand’s households

by allocating them into 42 “Types” in 11 household-level “Groups”. The Mosaic™ type allocated to each of New

Zealand’s 1.4 million residential households is based on a range of statistical and independently-researched data

sourced from the latest New Zealand Census information, Quotable Value New Zealand and market research by Roy

Morgan. In total, over 100 variables have been used to build the core groups, with a further 350+ variables used to

describe each segment within those groups (www.mosaicnz.co.nz).

National Culture Market: is the number (or percentage) of adult New Zealanders (aged 15+) that say they are in the

market for arts, culture and heritage. In the Audience Atlas New Zealand 2011 report this figure stands at 95%.

Penetration %: the level at which a venue or arts organisation is attracting a sector/group or type of its audience

from an identified base population.

Performance: describes a single show within an entire event run (Purple Seven).

Revenue: the dollar amount paid for a single seat to see a single performance.

Ticket: is a single seat sold for a single performance.

Ticket yield: is the average price paid for a ticket.

Visit: is an attendance by a booker and their group. Usually a booker will buy more than one ticket in a transaction,

and sometimes there is more than one booker per household. So ‘visits’ is a measure of the number of times each

individual booker has attended a venue or artform.

Glossary of terms

This report has been compiled by Morris Hargreaves McIntyre on behalf of Creative New Zealand Toi Aotearoa.


Creative New ZealandLevel 3Southern Cross Building59-67 High StreetAuckland 1010

www.creativenz.govt.nz/audience360

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