www.ggareports.co.uk

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Pg 3 - 5 CHAIRMAN’S REPORT / DIRECTOR’S REPORT Pg 6 - 9 RESEARCH, MARKETING & AUDIENCE DEVELOPMENT CONSULTANCY Pg 10 - 19 CASE STUDIES Pg 20 - 25 SPEED NETWORKING & INTELLIGENCE SERVICE Pg 26 - 27 SUMMARY OF ANNUAL ACCOUNTS Pg 28 - 29 MEMBERS & CLIENTS / GGA TEAM & BOARD

CONTENTS

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THIS YEAR’S REPORT SHOWS HOW STRONG OWNERSHIP BY GGA’S MEMBERS ANDCLIENTS SEES AUDIENCE DEVELOPMENT FLOURISH IN GLASGOW AND BEYOND. However, for GGA, 2007/08 has beenparticularly significant in other ways. We sit alongside a network of audience development agencies which operate across the UK. While most share the same broad aims, the scale and nature of their operation differs considerably. This is areflection of the very different organisational needs, the contexts they operate in and thepriorities they juggle. One thing we do have in common is that we all benefit as strategicorganisations to a greater or lesser extent from public funding because we assist artsorganisations, Arts Councils, local authorities and other public agencies in delivering their core objectives. Although some receive less and some more, on average, an agency obtains around38-45% of its turnover in regular core funding.

We have been fortunate since our establishment that, alongside revenues generated from our members and clients, both the Scottish ArtsCouncil and Glasgow City Council havecommitted funds to GGA. They have done so to learn more about audiences and for the arts to remain, vibrant, visible and relevant to the public,giving direct support to arts organisations in their work to build greater demand.

Therefore, it is significant that in the 2007/08 financial year GGA was again granted funds from Glasgow City Council and invited to apply in the next round of Scottish Arts Council FlexibleFunding for 2009/11. We felt this was a crucial step – both as an acknowledgment of the value of our strategic work on audience participation and attendance and also a ringing endorsement of the efforts of our members and clients to achieve and sustain it.

As we embark on a promising new stage ofdevelopment for the Creative Industries inScotland, I would like to record my thanks andappreciation to those who through theirparticipation, foresight and goodwill continue to support this strong focus on audiencedevelopment. GGA’s work would not be possible without the combined financial resources of its Board, our funders, our members and anexceptionally talented and dedicated staff team. It is the sheer strength of this collaboration that underpins our future success.

ROY McEWANChairmanGlasgow Grows Audiences Ltd

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This year we were again delighted to achieve 100% membership retention.

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“UBUNTU” IS A CONCEPT, ORIGINATING FROM THE BANTULANGUAGE AND DESCRIBING AN AFRICAN WORLD VIEW. ITRECOGNISES THAT OUR SUCCESS AND WHO WE ARE RELIES ONOTHER PEOPLE, “A PERSON IS ONLY A PERSON THROUGH THEIRRELATIONSHIP WITH OTHERS”. IT ENTERED THE POLITICAL LEXICON WHEN FORMER US PRESIDENT BILL CLINTON REFERRED TO IT IN HIS ADDRESS TO THE LABOUR PARTY CONFERENCE IN 2006.

When thinking about the year, I felt that this idea had powerful resonance with our work at GGA - that when one organisation improves everyone gains and when empty galleries, theatres and concert halls prevail,everyone is diminished. To develop and sustainaudience growth for the arts, organisations must work together.

This review offers just a small glimpse of the nature, range and diversity of our work with members, clients and stakeholders in 2007/08. It illustrates how much our efforts have been focused not just on individualissues, but on building collaborative approaches toaudience development, as our projects with nationalorganisations and across cities and regionsdemonstrate. From this, we know that the samequestions about audiences for the arts exercise us all. They are not common just to one arts organisation, art form, or part of the country; they are common across the entire cultural sector. Therefore, our challenge remains how to harness this combined approach, share knowledge, learn from one another, promote ourcollective impact and change.

“The government‘s aim is to encourage participation in a diverse cultural life and widen access to sport. Arts and culture can bring real benefits to communities and individuals and sport can make a significant and positive contribution to many of our lives. It is vital thateveryone has the opportunity to participate” www.scotland.gov.uk

In GGA we believe that to act for audiences in the policy debate, membership representation is essential. This year we were again delighted to achieve 100%membership retention.

Working in partnership with members and drawing from box offices across the city we have been able to create one of the largest audience databases in the West of Scotland. It is a valuable indicator of ourimpact. During the year we have developed andextended the reach of our research and core “dataextraction” services and shared insights aboutaudience behaviour motivations, attitudes and values with organisations throughout Scotland. The potential for us to combine an overview about audiences withaction to increase attendance and participationcontinues to be a key focus – a focus linking us to the wider national cultural policy and Creative Industries collectively.

While understanding audiences might be the first step, quantifying how much a reading a book has changed a life or how good we feel when singing our heart out is difficult to measure and relies on more sophisticated methods of enquiry. However, we believe the impact of what we can measure is largely untapped and, using the evidence gathered to date, GGA will add power to the lobby for the arts. For example, through evaluating the economic value of visitors to some of the major artsfestivals in Glasgow, we have shown that collectively, in any one year, they have attracted nearly 150,000 visitors and contributed over £6M to the local economy. This kind of evaluation has facilitated valuable conversations with the wider tourism and visitor attraction networks and Glasgow City Marketing Bureau. In particular, our “C21st Service” initiative, which focuses on front line staff in box office, front of house and marketingpositions across the city, aims to deliver improvedcustomer focus and help position arts organisations asan important contributor to achieving targets set inGlasgow’s 10 year Tourism Strategy.

With our annual conference, training and networking events, we have adapted the range of support we offer in response to demand from our members. Alongsideinformal coaching and mentoring, we designed andfacilitated sessions for teams to come together to consider audience research findings and discuss how to integrate audience development strategies across their organisation. We also invited peers from across the UK to share insights and realities about turning audience development theory into practice. This year’s inaugural GGA “GaGAs” showed just how much talent and effort there exists across Scotland to achieve this. Here, the Scottish Arts Council sponsored Intern Project offers a “win-win” opportunity for organisations and ultimately for audiences. Under our wing, the Intern project aims to train and support fresh talent. It also offers direct human resources for members to embark on new initiatives, giving momentum to latent audience development ideas within their organisation.

Supported by grant funding, we believe our approach to innovation and collaboration over the next three years is the key to our future. We will continue to buildknowledge, streamline services and forge newrelationships to ensure that the arts enrich more lives. And for that too, I thank the entire team at GGA whose unyielding commitment and professional endeavour is inspiring. Ubuntu.

JULIE L TAITDirectorGlasgow Grows Audiences Ltd

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RESEARCH,MARKETINGAND AUDIENCEDEVELOPMENTCONSULTANCY2007/08

07AUDIENCE PROFILING – THE YASCOLLABORATORSYoung Audiences Scotland (YAS)

A package of audience profiling, benchmarking andongoing evaluation was provided to the YoungAudience Scotland consortium – Catherine Wheels, the Bank of Scotland Imaginate Festival, Giant, TAG Theatre Company, Visible Fictions and Wee Stories – to support the first year of an audience development collaboration between the children and young people’s theatre sectororganisations.See Case Study on page 15

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AUDIENCE INSIGHTRoyal Scottish National Orchestra (RSNO)

To inform organisational development, focus groups were facilitated with RSNO audience members touncover their ‘relationship’ with the Company’s brand.

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AUDIENCE SEGMENTATION & CAMPAIGNDEVELOPMENTScottish Chamber Orchestra (SCO)

Following on from a previous research and audiencedevelopment project, lapsed attenders became a key focus in this 2007/08 campaign specially devised tore-engage this audience in the short term and establish an ongoing relationship.

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CELTIC CONNECTIONS ’08 – VISITORECONOMIC IMPACTGlasgow’s Concert Halls

A second visitor economic study was completed toassess the impact of Celtic Connections in 2008.

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CEOL ‘S CRAIC – AUDIENCE DEVELOPMENTAn Lochran / Culture & Sport Glasgow

Our knowledge of the Gaelic arts marketplace was put to the test by the An Lochran team who accessed our coaching and mentoring service to support a new team member to learn more about the intricacies of audience development and its practical application.

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CRAFTS RESEARCH & INDUSTRY CONFERENCE TAB / HI Arts / GGA

Exploring and sharing knowledge about the audience for Scottish craft.

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CROSS ARTFORM DATA ANALYSIS Dundee Rep Theatre

A programme of audience research provided Dundee Rep Theatre with a benchmark for the venue’s audiences in terms of attendance and demographic profile.

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CULTURAL PATHFINDERS – EVALUATION &RECOMMENDATIONSGlasgow City Council

“Scotland’s Culture”, the then Scottish Executive’s response on the Cultural Review, proposed that pilot projects – ‘Cultural Pathfinders’ – should be developed to explore approaches to entitlement-setting indifferent scenarios, helping local authorities to discover what would be effective and practical. Glasgow City Council focused on disadvantaged older people and other under-represented groups, such as disabled people and the black and minority ethnic community as part of its inclusion in the programme. Workshops and events took place and GGA provided an analysis of what participants thought of the sessions.

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DANCE AUDIENCE DEVELOPMENT –PHASE TWOScottish Ballet

The second part of a three-phased project with Scottish Ballet where the main aim is to grow and sustain new audiences for the Mixed Bill programme. See Case Study on page 13

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EXTERNAL COMMUNICATIONS – DISCUSSION DOCUMENT Cryptic

Recommendations on how best to attract new attenders and enhance audience loyalty.

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FACILITATION – CUSTOMER SERVICE ACVMS

A customer service training workshop withrepresentatives from the Association of Cultural Venue Managers in Scotland.

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FACILITATION – STRATEGIC PLANNING Scottish Touring Theatres Consortium (STTC)

A series of facilitated workshops with the STTC as part of a strategic planning exercise to refine the organisation’s mission and objectives.

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FAMILY AUDIENCE DEVELOPMENT Citizens’ Theatre

In response to an increased programme of events and workshops on offer to everyone aged 3 – 25, GGA worked with the team to develop an audiencedevelopment campaign geared around family audiences.

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GLASGAY! ’07 – VISITOR ECONOMIC IMPACTGala Scotland Ltd

Research fieldworkers descended on Glasgay! audiences to assess the impact and popularity of the events being presented as part of the Festival.

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BLAIR ATHOLL GATHERING ‘07 – VISITORECONOMIC IMPACTGoddodin Games

The Blair Atholl Highland Games incorporates various elements including Scottish music, sport, craft andfamily audiences. GGA provided a visitor economic impact study for the 2007 Games to inform future event planning and enhance the visitor experience.

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HALF LIFE: AUDIENCE RESEARCHNational Theatre of Scotland / NVA

Audience research was completed on behalf of theNational Theatre of Scotland and NVA on theircollaboration project - Half Life, a major new landscape work and the first co-production between bothorganisations. In conjunction with a series of focus groups, research questionnaires were used to assess perceptions of the event and understand more about the audience.

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INTERPRETATION STRATEGY AND ACTIVITY EVALUATIONSuspect Culture

A mid term assessment of a two year interpretation programme where the key aim is to enhance theunderstanding and enjoyment of Suspect Culture’s work through a series of ‘activities’.

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MERCHANT CITY FESTIVAL ’07 – VISITORECONOMIC IMPACTUZ Events

A second visitor economic impact study of the Festival was completed.

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MOSAIC SCOTLAND / VITAL STATISTICSAUDIENCE PROFILINGBBC SSO

A report detailing audience booking trends andhousehold expenditure over a period of eighteen months.

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MOSAIC SCOTLAND / VITAL STATISTICSAUDIENCE PROFILING Scottish Ballet

Scottish Ballet’s mixed programme/full-length ballet attenders were compared with those booking for other dance/cross art form events in Glasgow.

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MOSAIC SCOTLAND AUDIENCE PROFILING Scottish Opera

Theatre Royal and Glasgow’s Concert Halls’ operaattenders were studied to reveal the similarities anddifferences between them.

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NATIONAL AUDIENCE RESEARCHScottish Dance Theatre

An assessment of the Company’s national audience profile through questionnaire, sales and demographic analysis.

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OPEN STUDIOS ’07 – VISITOR AND ARTIST EVALUATIONWASPS Artists’ Studios

Year two of Open Studios event evaluation with visitors and artists. A supplementary survey amongst resident artists assessed the cultural benefit of WASPS inScotland.

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PIPING LIVE! ‘07 – VISITOR ECONOMIC IMPACT The National Piping Centre

Glasgow’s international piping festival took place over 15 venues in 2007 and attracted thousands of visitors. GGA provided economic impact data for this annual event.

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RESEARCH AND MARKETING AUDIT Dance House

GGA provided Dance House with key market data to inform long term strategic planning.

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SALES ANALYSIS, AUDITING, MYSTERYSHOPPING AND MORE…The Arches

An assessment of the venue’s audience development infrastructure through sales analysis, systems auditing, mystery shopping and workshop sessions.

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STRATEGIC AUDIENCE DEVELOPMENT – AUDIT TO IMPLEMENTATIONHorsecross Arts Ltd

GGA is assisting the Horsecross team to strengthen the strategic role of audience development within the organisation.

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TARGET GROUPS RESEARCH ANDRECOMMENDATIONSDance House

Marketing tactics specifically aimed at increasing theattendance and participation of three groups – pre-5s, over 12s and the physically disabled.

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TARGETING UNDER-REPRESENTED AUDIENCESMagners Glasgow International Comedy Festival

An investigation of the Festival’s audience revealed a number of under-represented groups. Recommendations on how best to attract more of these audiences in the future were provided to the team.

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THE GREENHOUSE – AUDIENCEDEVELOPMENT INTERN PROGRAMMEScottish Arts Council / GGA

Scotland’s first Audience Development InternshipProgramme – meet the new kid on the block!See Case Study on page 11

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THE NATIONAL DATA EXCHANGEFederation of Scottish Theatre (FST)

Instigated by the Federation of Scottish Theatre, GGA and The Audience Business – with investment from the Scottish Arts Council – The National Data Exchange is an infrastructure, staff training and networkingprogramme designed to collate and share actual data on audiences amongst a wide variety of arts venues and touring companies across Scotland. Planning is at an advanced stage and the project is due to be launched in 2008/09.

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THE SPAN PROJECT – RESEARCH MENTORINGProject Ability

Mentoring support for a specially recruited Project Ability team member during a twelve-month audience development ‘action research’ programme.

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THE UNDER 26 MARKETPLACE –DEVELOPMENT RECOMMENDATIONSScottish Opera

An analysis of the national uptake of the Company’s under 26 £10 ticket scheme.

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NATIONAL TRAINING PROGRAMME IMPACT EVALUATIONAudience Data UK (ADUK) / AMA

Participant recruitment for the ADUK ‘Dazzled by Data’ training programme and the evaluation of its impact.

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USING PROFILING TO TARGET AUDIENCESMacrobert / Tolbooth / Albert Halls

Macrobert, The Tolbooth and the Changing RoomGallery teams are sharing resources and GGAgenerated data intelligence to build a sophisticated audience profile; target likely new audiences and track results.

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VISITOR RESEARCH AND TEMPLATEDEVELOPMENT The Lighthouse

Primary research and intelligence data was utilised to gain a greater understanding of visitors to the venue. A template for ongoing visitor evaluation was also devised.

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WORKSHOP SPACE – THE FIVE AUDIENCE ‘ZONES’Giant

The challenge: to provide a comprehensive set ofmarketing tactics specifically aimed at increasingattendance and participation for events at Giant’sWorkshop Space. See Case Study on page 17

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WWW.DANCEINTHECITY.COMScottish Arts Council / GGA

A website dedicated to dance in and around Glasgowtargeted at those who want to watch, learn or teach dance.

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I thought I’d just write a note to say well done to you and your colleague for your performance last night – I honestly don’t know how you do that job....having to listen to a load of confident and opinionated folk, but then maybe that’s the sort of people you need at forums! I can say I found it a pretty hard way to earn £20, and I really hope you got something useful out of me being there.

RESEARCH PARTICIPANT

I found the time spent working with GGA on this project to be really valuable. The findings really helped the marketing team develop a better understanding of our audience and helped us establish a clearer framework for future marketing campaigns. Definitely look forward to working with you again in the future.

GGAMEMBER

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CASE STUDYAUDIENCE DEVELOPMENTINTERNSHIP

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THE GREENHOUSE – AUDIENCE DEVELOPMENT INTERNSHIPPROGRAMME

Working in partnership with the Scottish Arts Council and The Audience Business, GGA developedScotland’s first Audience Development Internship Programme – The Greenhouse – which opened the doors to its first two recruits in October 2007. In Glasgow, Susie Ironside wowed theselection panel with a quirky personal essay as part of a gruelling recruitment process. Mentored by Dianne Greig, Head of Audience Development at GGA, Susie was given the opportunity to work with marketing teams in selected member organisations on audience developmentcollaborations. In addition, she assisted on numerous GGA ‘assignments’ as part of a planned schedule of work which gave her a chance to experience a wide-ranging itinerary of research, marketing and audience development projects.

The first part of the Internship took Susie across the River Clyde to the Citizens’ Theatre where she played a key role in the creation and implementation of a Family Audiences project. Alison Martin – Marketing and Communications Manager, Citizens’ Theatre comments:

“Having the GGA Audience Development Intern with us this year was invaluable. Susie’s focus on family audiences pushed this area of our work up the agenda at the right time when we had new opportunities in our programming to exploit and made it an active part of our strategic andtactical planning for the year. It allowed us to achieve results in an important area of ourdevelopment as a company and I firmly believe these would not have been achieved otherwise.”

Susie’s other main project involved experiencing life at the RSNO where she gained practicalmarketing experience and much more…

“I hope Susie will have gained an understanding of the challenges of promoting classical/orchestral music – generally and to groups. She had opportunities to benefit from working closely with a designer, writing copy, planning activities, researching, liaising with box offices, marketing colleagues and customers. She also had an introduction to the Box Office and will have gained an insight into touring company/venue relationships.”David Stark – Director of Marketing and Communications, RSNO

Before ‘graduating’ in September 2008, Susie will spend time at Scottish Ballet, WASPS Artists’ Studios, Platform, Glasgow’s Concert Halls and The National Piping Centre.

“The reinforcement of existing bonds and promotion of the merits of audience development withparticipating member companies has been one of the clear benefits of the Internship, as has the gain of hands-on experience and the opportunity for Susie to network with professionals invarious companies.”Julie Tait – Director, GGA

www.ggareports.co.uk

CASE STUDYDANCE AUDIENCE DEVELOPMENT

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DANCE AUDIENCE DEVELOPMENT – PHASE TWOSCOTTISH BALLET

In 2006, as part of project commissioned by the Scottish Touring Theatres Consortium (STTC), Scottish Ballet set a challenge to GGA – to create a strategy that would encourage audience growth and retention for dance in Glasgow, Edinburgh, Aberdeen and Inverness, the results of which would be shared with STTC members.

To complement an initial feasibility study carried out by Scottish Ballet, GGA undertookquantitative and qualitative research in the form of focus groups, desk research, audienceprofiling, box office sales analysis and a competitor analysis. A phased Audience Development plan was created, initially around Scottish Ballet’s Spring Season 2007, and implemented over a six week period. It focused on attracting and retaining new/lapsed attenders for mixedprogramme performances and also included recommendations on how current communications with regular attenders could be enhanced.

In phase one, quick wins were achieved at large scale venues in Glasgow, Edinburgh andAberdeen. (Inverness will be included in the project from early 2008). The overall income andattendance targets were surpassed, direct mail campaigns generated significant returns oninvestment, programme sales in one venue alone surpassed set target by over 25% and unique visits to the Scottish Ballet website increased by 30%.

Phase two focused on audience loyalty and revenue generation at His Majesty’s Theatre inAberdeen. Not only had ticket sales and revenue increased between phase one (Spring Season 2007) and phase two (Autumn Season 2007) but more people booked these consecutive events than had done for the comparable events in Autumn 2006 and Spring 2007. Aberdeen audiences also appeared to be more familiar and appreciative of the Company. The feedback below was pro-vided by the Scottish Ballet team – the dancers in particular had commented on the change in the Aberdeen audience response from season to season:

“The audiences were bigger, more animated and noisier – as in louderapplause and even shouting. It was not the normal response from theAberdeen audience; they are always welcoming, warm and receptive butnot so vocal or animated.”

As well as creating a more receptive audience base for the future events, GGA enabledScottish Ballet to have greater access to detailed audience intelligence, drawn from a wide variety of sources, which was used strategically and in a very practical way. Working with a limitedbudget, every aspect of the marketing campaign was designed to deliver maximum impact on revenue and retention and positive results were delivered on every indicator set. The constant dialogue generated amongst all project partners was equally important. The project will continue until the end of 2008.

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CASE STUDYAUDIENCE PROFILING

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AUDIENCE PROFILING – THE SIX YAS COLLABORATORSYoung Audiences Scotland (YAS)

Young Audience Scotland – a megaphone for the vibrancy and variety of theatre for children, young people and families in Scotland.

For the first time in Scotland, six leading producers of theatre for children and young people have joined forces to harness their combined strengths, skills and reputations to achieve a greaterunderstanding of their audiences and the potential to develop them.

With support from the Scottish Arts Council, The YAS consortium – Catherine Wheels, the Bank of Scotland Imaginate Festival, Giant, TAG Theatre Company, Visible Fictions and Wee Stories, is working collaboratively to disseminate audience development best practice not only for theirbenefit but for the sector in Scotland as a whole. Project co-ordinator, Sally Wilson, enrolled GGA’s research and intelligence services to support the first year of YAS.

Key information about audiences was required during the early stages of the project and we examined the attenders of each of the organisations involved. This, in addition to research with audiences, sector representatives, educators and partners, allowed the consortium to make both tactical and strategic audience development decisions, establish individual and collectivebenchmarking totals and instigate sector-wide initiatives that could not have been achieved by the individual companies alone.

The development of a ‘Young Audiences Scotland’ website and monthly e-newsletter allowed GGA direct access to those who were benefiting from the YAS initiative. Site visitors and e-news subscribers were encouraged to give their feedback about YAS through an online survey and a cross-section of those who responded were invited to take part in a focus group. Here are a few of their comments:

“It’s easier to get it all in the one email. I didn’t work much in the three years after I had my daughter and I felt very out of the loop. You kind of lose touch. So it’s nice just to read one email and find out what’s on.”

“I think it’s great to have the one site, the place to go to, because that used to be my issue before. Through Young Audiences Scotland I have found out about organisations I didn’t know existed.”

“I have recommended Young Audiences; I’m like the theatre representative at the nursery. So I’veforwarded on the address to the other mums a few times. I’ve left some flyers in the nursery as well.”

“It is bookmarked on my browser, so that alone shows you that I think the website is worthvisiting.”

The YAS concept has been warmly received and GGA will monitor ‘audience development’ progress over a twelve-month period and assist the consortium to develop continuation strategies at the end of this initial funding period.

More about the project, which runs until the end of 2008, can be accessed at:www.youngaudiencesscotland.com

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CASE STUDYWORKSHOP SPACE

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WORKSHOP SPACE – THE FIVE AUDIENCE ‘ZONES’GIANT

‘Creative Adventures for all Kids’

In May 2007 Giant, a professional children’s arts development organisation based in Glasgow, opened new premises in the Saltmarket area of the city. The Giant Workshop Space was‘created’ to accommodate a growing audience base who had indicated a wish to attend events by the Company more frequently. GGA was engaged to make recommendations on how best toattract previous and new participants to it’s inclusive events at the venue.

We carried out an audit of current marketing and audience development practice for theWorkshop programme to understand how people found out about Giant and how ongoingrelationships were maintained. Bookings over a six-month period were assessed to uncover trends such as the most popular time for activities, how far participants travelled to the venue and how often they returned. Findings from discussions with parents in previous research by GGA were also referenced as they had included opinions on elements such as programming, communication methods and pricing.

Positively, a survey of the local catchment area revealed there to be over 1,000 children aged 4 and under living within a few minutes of the venue, but an analysis of the competitivemarketplace in which Giant is operating showed high levels of provision for children’s arts within a few miles of the Workshop Space.

In response to the research findings, we identified five key audience segment ‘zones’ and set a series of realistic objectives and targets to focus marketing resources and provide evaluation milestones. To facilitate the implementation of the proposals we provided Giant with practical resources including key local contacts and details of potential partnership opportunities.

The development plan focuses on building loyalty and maintaining friendly contact withparticipants throughout the year. A number of ‘zone’ targets have already been achieved and GGA will assess how the project is progressing over the coming months.

“I really like the workshop space, because there is a lot of room to do art, and also there are so many bright colours which makes it feel friendly.The space is good for all different types of art so that makes it even better.” Giant workshop participant, age 10

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CASE STUDYAUDIENCE RESEARCH

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HALF LIFE: AUDIENCE RESEARCHNATIONAL THEATRE OF SCOTLAND / NVA

In July 2007 the National Theatre of Scotland and environmental arts charity NVA collaborated on Half Life – a major landscape work and the first co-production between both organisations. The project involved installations and an outdoor production based in Kilmartin Glen, Argyll – an area of rich heritage where Neolithic artefacts have recently been discovered.

Half Life started by day, when audience members were invited to explore a series of atmospheric sites and installations based around known and rarely seen prehistoric landmarks. The routefollowed the recently recovered archaeological field notes giving invaluable insight into the area. These included magnificent burial cairns, standing stones and ancient hill forts, with walksranging from 15 minutes to three hours. Dense forests were manipulated to create intriguing new entrances and vistas around chosen sites, while audio compositions enhanced the existing sounds of the natural environment.

In the evening, an outdoor production was staged in an atmospheric forest location at theentrance to Kilmartin Glen, centred on a sculptural set constructed from hundreds of felled logs. Seen through the eyes of an eminent archaeologist, Half Life brought to light the remarkable beliefs that focused the ritual activity in early societies; beliefs that still echo through the present landscape.

No equivalent nationally led arts project has been undertaken in the region before and it was pioneering on a UK wide level and it was therefore important for both the National Theatre of Scotland and NVA to find out what impact the event had made on those attending. GGA was appointed to undertake research with Half Life attenders to hear their thoughts on the various elements of the work.

Feedback from a series of discussion groups and questionnaires were used to reveal thedemographic profile of the audience and included opinions of the performance, how longattenders stayed in the area, carbon footprint information and recommendations for future work.

“I would tell anyone in Glasgow who has time to take a weekend out to come away and see it – you need to come for the whole package. To my theatre mates I would definitely say – don’t just come for the show.” Half Life attender

NVA is planning to re-launch a series of permanent landworks in the forests of Mid-Argyll to allow both first time visitors and those wishing to revisit the area an opportunity to explore thelandscape and the themes of the Half Life project at their own pace.

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GGA SPEED NETWORKING AND INTELLIGENCE SERVICE

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GGA CONFERENCE 2007MAYBE TOMORROW - extending your reach, revenue and reputation

On Friday 1st June 2007, over 100 key opinion formers and professionals from across the arts gathered at ‘maybe tomorrow…’ – GGA’s second annual conference, held at City Halls in the heart of Glasgow’sMerchant City. In a packed first session, ‘maybe tomorrow…’ brought into focus a whole spectrum ofinitiatives currently underway at a local, national and international level to develop audiences for the arts, including some of those proposed by the Cultural Commission. The second half of the day looked at how e-technology and the latest research tools could be applied to extend our reach, revenue and reputation. With all of this clarity of vision in mind, our colleagues took us through a light-hearted look at what they want to start, stop and keep doing to build audiences for their organisations in the ‘Chit Chat’ session. During the day, GGA introduced the GaGAs – awards presented to individuals and organisations torecognise excellence in audience development.

“I thought the conference was great - all very pertinent and tangible subjects discussed, and a really good mix of people in the audience.  As usual you and your team did a great job.  You always get the details just right, and fittingly for a conference on audience development, you give everyone a great ‘visitor experience’ from start to finish! I was glad to have been part of it.”

“Great networking day for me and some interesting contacts and speakers. …always like a team who value the power of a “celebration cake”. “…a good balance between strategic and tactical initiatives”  “…nice just to hear inspirational people talking about projects rather than preaching about something”  “Excellent presenters, well chaired, information rich”  “Francis McKee’s talk about visual arts and audience development was refreshingly frank”  “GaGAs (awards) were great” “Great buzz from the delegates and speakers – people were enjoying themselves”  “It was fun, funny and fast-paced”  “The atmosphere created was relaxed and engaging”

Photos and feedback are online: www.gga4arts.co.uk/conf07

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ENGAGE SCOTLAND CONFERENCE 2007WORKING WITH AUDIENCES

Charlotte Winter, Head of Market Research, presented an overview of the changes and influences that will impact on gallery audiences of the future at engage Scotland’s annual conference.

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NATIONAL EVENTS

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CITY WIDE

In 2005, with investment from Scottish Enterprise Glasgow, GGA ‘Mystery Shopped’ 10 major arts venues in Glasgow to assess the customer service experience received by residents and visitors to the city. A range of member venues took part in the project, which involved ‘Shoppers’ booking online, purchasing tickets in person at the box office or by telephone prior to attending a performance. Following the results of the Mystery Shopping programme, and using valuable feedback from key staff members from Box Office, Front of House and Marketing, GGA created C21st Service – a collaborative training, networking and capacity building programme, which aims to increase service levels and attendances city-wide. We are continuing to receive positive feedback about C21st Service, which is now in its second year of operation. Currentinitiatives include the ArtsPass and C21 News.

THE ARTSPASSThe ArtsPass is unique to Front of House, Box Office and Marketing staff and provides them with theopportunity to take advantage of special ticket offers that are featured in C21 News. In the last year there has been a 30% increase in ArtsPass membership. C21 NEWSC21 News is a monthly e-newsletter dedicated to Front of House, Box Office and Marketing staff. It features news and views from staff and venues, industry updates, training opportunities, exclusive ArtsPass ticket offers and much more!

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GLASGOW TOURISMThe GGA team hosted meetings with members focusing on one main aim – to reach more cultural tourists! As part of this series of gatherings industry professionals were invited to take part in the deliberations and assist in the formation of collaborative ideas that could potentially attract investment for implementation.

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PEER TO PEER

YOUNG PEOPLE, ARTS & CULTURE – JOHN E MCGRATHGGA hosted a training and capacity building session on the subject of ‘Young People, Arts & Culture’ lead by John E McGrath, Director of the award-winning Contact Theatre in Manchester, a place as renowned for its work with young people and artists as it is for its development of experimental theatre. The day long event, attended by representatives from The Arches, Tramway, Platform, The Citizen’s Theatre, Tron,Cumbernauld Theatre and Suspect Culture, allowed directors and marketers to come together to hear about John’s experiences, ask questions, enjoy some ‘creative renewal’ and share ideas that may have positive influence on the city’s younger people.

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COLLABORATIVE OPPORTUNITIES

PERFORMING, TOURING AND RECEIVINGTHE COMMON AGENDA

GGA organised and facilitated sessions with marketing managers and directors from each of the five nationalperforming companies and receiving venues in Scotland. The discussions centred on ‘the common agenda for audience development’ and examined the key issues affecting both parties and potential ways in which they could be addressed. Positive outcome were achieved and further meetings are scheduled throughout 2008.

THE COLLABORATORS:

THE PERFORMING COMPANIES VENUES THE AGENCIES National Theatre of Scotland Glasgow’s Concert Halls GGA Scottish Ballet Edinburgh Festival Theatres The Audience Business Scottish Chamber Orchestra His Majesty’s Theatre RSNO Glasgow Theatres Ltd Scottish Opera Usher Hall Eden Court RSAMD

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PROFESSIONAL DEVELOPMENT

GGA offers members opportunities to discuss and learn more about best practice in audience development:

THE GURU IS IN!Permission based marketing and e-marketing topics were top of the agenda when leading expert, Roger Tomlinson,visited Glasgow to present workshops at GGA’s office. This much sought after conference speaker who leads at thecutting edge in the use and implementation of new technology offered valuable advice to members.  

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ARE YOU LOOKING FOR MORE ATTENTION?Exclusive sessions with Dianne Greig, GGA’s Head of Audience Development gave two members a chance to consider their media and communications planning – from strategy and campaign development through to successful evaluation.

“Many thanks for the one-to-one session we had – I found it extremely useful.”Catherine Gauld, Scottish Chamber Orchestra

“With a reduced marketing budget for our Open Studios Weekend, I had to be more resourceful. My marketing and PR session with Dianne gave me the confidence to create an online marketing strategy to help target potential visitors more effectively”.Helen Moore, WASP’S Artists Studios

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THE RESEARCH MENTORCharlotte Winter, GGA’s Head of Market Research, is mentoring a specially recruited Project Ability team member through a year long action research programme – focus group training, questionnaire and discussion document design and report writing are key focal points for development.

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GGA SPEED NETWORKING AND INTELLIGENCE SERVICEContinued...

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NETWORKING – Virtually and leisurely!

VIRTUAL ‘AUDIENCE DEVELOPMENT’ COFFEE BREAKIn December ‘07, GGA members across Scotland joined together for a virtual coffee break in the name of audience development, a time where our members, clients, friends and stakeholders could put the kettle on and think about the year ahead and their audience development plans. Virtual coffee break participants interacted by sharing their‘audience development brainwaves’

“What a great idea! Thanks for including me in the pool. I’ll be on the train at 11 - if it has wireless I’ll join theconversation - if not, I’ll catch the crumbs of it later.”Bryan Beattie, Creative Services

“…thank you all for the mug, which was baptised today. If I have a brainwave this weekend, I’ll send it in, late or not.”Keith Crosier, GGA Board

“What a good idea to get us all to sit down, take time out and discuss. We had great debate and felt totally inspired after it.”Anne McCluskey, Tron Theatre

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SEASONAL SUPERBOWL!The 2006/07 GGA AGM attracted a larger audience than anticipatedThis was partly due, we suspect, to the addition of a bowling event straight after the formal proceedings. Developing audiences is a serious business but every now and again it’s good to get together in more relaxed surroundings!

Reserves: The charity has net reserves at the year end of £113,755. This includes GGA’s match funding commitments for the supply of data services that will be underwritten in2008-09 with the remainder used in meeting the increased demand for arts consultancy,software licensing and training services for which GGA has commitments in 2008-9. The directors’ aim is to manage risk by building up a reserves fund adequate to cover core overheads for a 3 month period. (Circa £60k). Whereunallocated funds are created these will beredirected towards maintaining the operations of the organisation to ensure delivery of the core Memorandum and Articles of theorganisation and ensure efficient and effective best practice at all times.

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GGA: SUMMARY OF ANNUAL ACCOUNTSFOR YEAR ENDED 31ST MARCH 2008

These financial statements have beenprepared in accordance with the specialprovisions of Part VII of the Companies Act 1985 relating to small charitable companies and with the Financial Reporting Standard for Smaller Entities (effective January 2007). Thesummary accounts have been extracted from the audited statutory accounts for the year ending 31 March 2008. The full accounts and report are available from Glasgow Grows Audiences Ltd registered office.

The financial statments were approved by the Board of Directors on 22 October 2008.

GG

A E

XPENDITURE 2007/08

63% Salaries & Employers Costs14% Operating Overheads22% Projects1% Depreciation

GG

A IN

CO

ME 2007/08

17% Grants - Public Bodies17% Grants - Local Authorities20% Membership41% Projects2% Other3% Bank Interest

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PROFIT & LOSS

INCOME

Grants - public bodies £50,000---------------------------------------------------------------------------------------------------------------------------------------------------Grants - local authorities £50,000---------------------------------------------------------------------------------------------------------------------------------------------------Membership £60,250---------------------------------------------------------------------------------------------------------------------------------------------------Projects £128,125---------------------------------------------------------------------------------------------------------------------------------------------------Other Earned Income £5,676---------------------------------------------------------------------------------------------------------------------------------------------------Bank Interest received £8,848---------------------------------------------------------------------------------------------------------------------------------------------------

TOTAL INCOME £302,899

EXPENDITURE

Salaries & Employer Costs £168,184---------------------------------------------------------------------------------------------------------------------------------------------------Operating Overheads £36,202---------------------------------------------------------------------------------------------------------------------------------------------------Projects £56,638---------------------------------------------------------------------------------------------------------------------------------------------------Depreciation £1,586---------------------------------------------------------------------------------------------------------------------------------------------------

TOTAL EXPENDITURE £262,610

Profit for the Financial Year after Taxation £40,289---------------------------------------------------------------------------------------------------------------------------------------------------Retaining Profit Brought Forward £73,466---------------------------------------------------------------------------------------------------------------------------------------------------

RETAINED PROFIT CARRIED FORWARD £113,755

BALANCE SHEET

FIXED ASSETS:

Tangible Assets £1,688---------------------------------------------------------------------------------------------------------------------------------------------------

CURRENT ASSETS:

Debtors £34,674---------------------------------------------------------------------------------------------------------------------------------------------------Cash at Bank £197,977---------------------------------------------------------------------------------------------------------------------------------------------------

£232,651

CREDITORS:

Amounts falling due within one year £120,584---------------------------------------------------------------------------------------------------------------------------------------------------

NET CURRENT ASSETS: £112,067---------------------------------------------------------------------------------------------------------------------------------------------------

TOTAL ASSETS LESS CURRENT LIABILITIES: £113,755

RESERVES*:

Profit and loss account £113,755---------------------------------------------------------------------------------------------------------------------------------------------------

£113,755

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GGA MEMBERS GGA CLIENTS

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GGA TEAMJULIE TAIT DirectorCHARLOTTE WINTER Head of Market ResearchDIANNE GREIG Head of Audience DevelopmentKIRSTY MCKENZIE Finance & Administration ManagerNINA HONEYMAN Audience Development AssistantSUSIE IRONSIDE Audience Development InternSHELLY LAMINGTON Office Manager (Maternity Cover)

GGA BOARDROY MCEWAN (Chairman) Scottish Chamber Orchestra

JANETTE HARKESS The HeraldKEITH CROSIER University of Strathclyde (to Nov ‘07)ANNE KNOWLES Project Ability (to Nov ‘07)MARGARET FRAZER York Consulting (to Oct ‘07)LYNN BRADLEY Audit Scotland (to Aug ‘07)DAVID HUNTER Campbell Dallas Chartered AccountancyGUY ROBERTSON GRPRONNIE SOMERVILLE 5pm.co.uk

JULIE TAIT (Secretary) Glasgow Grows Audiences Ltd

www.gga4arts.co.uk

Glasgow Grows Audiences Ltd (GGA)Suite 1/16 Dixon StreetGlasgow G14AX

T 0141 248 6864F 0141 248 4090E info@gga4arts.co.ukW www.gga4arts.co.uk

Registered as a Company in Scotland: SC270865Registered Scottish Charity: SC035796GGA is a trading name of Glasgow Grows Audiences Limited