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PHASE 3PHASE 3

COVID-19Audience OutlookMonitorAustralia Snapshot Report:September 2020

Audience SentimentCOVID-19 Audience Outlook Monitor

Australia, September 2020

PHASE 3: KEY FINDINGS

12,147 144participants organisations

are ready to attend assoon as permitted

attended a cultural eventin the past fortnight

expect to attend the sameor more than before, long-term

29% stable with 28%in July 2020

29%

78%

up from 24%in July 2020

stable with 78%in July 2020

77% up from 70%in July 2020

14%

70%

up from 10% inJuly 2020

are comfortable toattend outdoor events

are purchasing ticketsfor live shows orperformances

say face masks wouldencourage them toattend

up from 36%in May 2020

Introduction

This Snapshot Report outlines key findings from Phase 3 ofthe Audience Outlook Monitor in Australia (September2020). Beginning in May 2020, the study involves bi-monthly data collection to track how audiences feel aboutattending arts and culture events in the context of theCOVID-19 pandemic.

Each phase involves a cross-sector collaborative surveyprocess involving around 150 arts and culture organisations,including museums, galleries, performing arts organisations,and festivals. Participating organisations simultaneouslysent a survey to a random sample of their audiences, whohad attended a cultural event between January 2018 andMay 2020.

Phase 3 results, from over 12,000 respondents, have beencombined with Phase 1 data in a freely available dashboard.It is designed to provide insights about all different artforms,types of events and demographic groups in all parts ofAustralia.

For more information about the study, and to accessresources such as the dashboard, visit:www.thepatternmakers.com.au/covid19

Read on for the key Phase 3 findings nationally.

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In September 2020, levels of comfort participating in publicevents vary markedly around Australia, based on rates ofcommunity transmission.

Nationally, the proportion who are at least somewhatcomfortable to use public transport has remained stable(62% in September compared to 61% in July 2020). In NewSouth Wales (NSW) and Queensland (QLD), comfort hasdeclined slightly (down 5% and 2% respectively), with cases ofthe virus increasing slightly in these states. In South Australia(SA), comfort is stable, while in all other states/territories ithas improved, including in Victoria (VIC), where audienceshave been living with significant restrictions underStage 4 shutdown.

There are diverse views about public interaction, and somepeople now view some activities with more cautioncompared to July 2020.

On average nationally, audiences feel increasinglycomfortable flying domestically on a commercial airline (48%in September, up from 44% in July). However, they feel lesscomfortable eating at a local restaurant (85%, down from89%), or exercising at a gym or fitness studio (53%, down from57%), potentially due to these places being sources of recentlocal outbreaks.

AUDIENCE OUTLOOK MONITOR

Views about publicinteraction are diverse andvary markedly acrossAustralia

Current conditions

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In Western Australia (WA), the Northern Territory (NT)and Tasmania (TAS), confidence is increasing, witharound 40% of attendees now saying they are ‘ready toattend as soon as permitted’In QLD and SA, confidence is stable or slightly lowerthan it was in July, with 33% ‘ready to attend’In NSW, VIC and the Australian Capital Territory (ACT),around 25% are ‘ready to attend’, with confidence in VICgrowing slightly during the shutdown period.

In September 2020, the Audience Outlook Monitor showsthat nationally, 29% of past attendees are ready to attend assoon as permitted, similar to that observed in July (28%).However, the picture varies across the states/territories:

These latest figures confirm that confidence in attending isclosely linked with rates of community transmission, howthese are changing and the level of confidence in bordercontrols and other public health policies.

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Audience views onattending are stable orincreasing

Returning to events


Figure 1: Proportion ready to attend as soon as permitted, bystate/territory (Phases 1, 2 and 3)


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The proportion of audiences that attended a cultural eventof any kind in the past fortnight has increased from 24% inJuly to 29% in September, as more venues and facilitiesreopen.

Most commonly, attendees are returning to museums andgalleries (13%), and cinemas (13%), which are currently themost common types of facilities to be open consistently. Rates of attendance at performances have grown sinceJuly, as more events have returned to stages and venues inmany states/territories (8%, up from 3%).

Across most parts of Australia, more past attendees aremaking plans to attend an event of some kind in future. InNSW, QLD and ACT, rates of planning to attend an eventhave increased to around half of all audiences. In NT, SA,WA, TAS, it is now around two-thirds of all audiences. In VIC,it has dropped from 34% in July to 20% in September, withuncertainty around shutdown timelines preventing manyfrom making decisions about future events.

29% of past attendees havereturned to a cultural eventrecently

The findings suggest that greater revenues are beginningto flow into the market, with recent attendees nowspending more on tickets. The proportion that spent morethan $50 on tickets has grown from 14% in May to 23%in September.

In the performing arts, the proportion making plans toattend a live performance has grown the strongly in thepast two months, with 23% nationally planning for thisright now, up from 14%.

The proportion who are buying tickets has grown from 10%to 14%, and over half of ticket buyers are buying tickets forevents this month (51%).


As performances return tovenues, more people arebuying tickets

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Figure 2: In the past fortnight, did you purchase tickets for one ormore live shows or performances that are scheduled for...? (Phases 1,2 and 3)

Whilst overall, audience sentiment is not shiftingdramatically, public health measures and in particular, socialdistancing guidelines are helping more people feelcomfortable attending cultural venues.

There has been a slight increase since July in the proportionwho feel at least somewhat comfortable with outdoor events(77%, up from 70%), including street market (80%, up from75%), music festivals (46%, up from 42%) and performances inoutdoor amphitheatres (81%, up from 76%).

Comfort levels have also increased with a range ofperformance venues, such as stadiums (53%, up from 45%),large theatres and concert halls (67%, up from 61%), comedyclubs or live music venues (37%, up from 34%).

Enforcement of social distancing remains key, with only 13%nationally feeling comfortable at a venue with no socialdistancing. However, audiences in some states/territories areappearing more comfortable with the concept of two squaremetres per person, compared to July, such as WA (90%), TAS(87%), SA (86%), and NT (81%).

Comfort levels with other types of cultural venues andevents remain high. Most audiences say that they would beat least somewhat comfortable to visit museums andgalleries (93%) and botanic gardens and zoos (99%) today,along with community art spaces (87%).


Social distancing is helpingmore people feelcomfortable at largevenues

67


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A majority of audiencesnow accept the use offace masks

In May 2020, face masks were a polarising issue, withaudiences divided on whether this measure wouldencourage (36%) or discourage (27%) them fromattending cultural events.

Now, in September 2020, 70% say they would find themencouraging, and 10% discouraging, confirmingwidespread adoption and support of face masks inpublic.

Support for face masks is particularly high in VIC (88%)and NSW (80%). It is lowest in WA (46%) and SA (49%).

Another safety measure receiving higher levels ofsupport is the taking of temperatures upon entry tovenues, with 71% now saying this would make them morecomfortable, compared to 65% in May 2020.

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When asked to reflect on their experiences returning tocultural events, most audiences appear to be satisfied andhave no or only minor suggestions for improving.

Many acknowledged the circumstances and expressedappreciation where venue staff had made extra efforts tomake people comfortable and make the experiences as‘normal’ as possible.

Some people regretted the fact that not all areas of somesites were open, such as the bar or museum shop, or thatthey could not move around as freely as they used to.

One person said,

‘Harder to create a 'vibe' but audience goodwill wasevident. People were grateful for the chance to see liveperformance’.

Most audiences aresatisfied with venue safety,and there is a sense ofgoodwill

Audience experiences

It appears that the degree of caution about performancespaces is higher compared to museums and other sites,and as more performances resume, managing socialdistancing will be challenging.

Among people who recently attended a live performance,those who suggested areas for improvement were inclinedto mention crowd management and social distancing.Some people noted issues around entering and exiting,such as a lack of distancing, congestion and wait times.

One person said,

‘Naturally people end up banked up and too close’.

Communication continues to be key — and where staff cando this proactively, sensitively and with good humour, itappears to work best. Emphasising information availableonline ahead of performances may be useful for somepeople who feel cautious.

One person shared:

‘My partner and I were a little nervous about how itwould all work, as it was our first show since thelockdowns. The venue could have put moreinformation about the COVID protections in place ontheir website. We face the same unease with the showwe will be going to this weekend'.

Finding ways to gentlyenforce social distancingis important

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Again, in Phase 3, audiences were asked to rank theirpreferred setting for a cultural event, from a list of fouroptions. Many say they would prefer a live-streamed digitalprogram that they could watch from home, as this feels thesafest. However, the proportion who put this as their firstchoice has dropped back slightly across Australia (35%, downfrom 39%).

Slightly more people now rank outdoor venues more highly(39%, up from 34%), where there is enough lawn space tospread out. One person explained,

‘In an outdoor area you can social distance how you feelmost safe and comfortable with’.

One-quarter (24%, stable since July) ranked an indoor,100-seat venue following social distancing guidelineshighest, and only 5% (also stable) ranked an indoor, flat-floorvenue with loose chairs and plenty of space to spread outhighest. One person explained,

‘I have more faith in event organisers to space outpatrons appropriately than I would for individuals tomake their own seating area. Especially for a ticketedevent, I imagine this would also make contact tracingeasier’.

These options attract different preferences across thecountry, depending on rates of transmission and climate. Assummer approaches, preference for outdoor venues. hasgrown significantly in TAS (up 20%), as well as ACT (up 8%)and VIC (up 7%). 11


Outdoor events anddigital streamingcontinue to be the mostpopular formats

Future attendance

Supporting the artists and spaces hardest-hit by thepandemicFamily-friendly venues and events, as children havemissed out on many activities and are having to processcomplex topicsAffordable options, as people’s incomes have beenaffected.

In Phase 3, audiences were asked ‘Is there anything youcan tell us about the types of venues or events you’llprioritise, and how they may differ from prior to thepandemic?’

While some people mentioned crowds and venue safety asthe key factor driving their attendance decisions, otherssay they want to support local, ‘homegrown’, independentand grassroots community events.

Other factors mentioned by audiences as relevant to theirdecisions included:

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Some audiences express adesire to support morelocal venues andgrassroots events

In Phase 3, audiences were asked ‘Thinking about yourlikely future spending online, if any, can you tell us whatyou’d prioritise?’

Many people mentioned classes, workshops and learningopportunities, across all artforms, skill levels and agegroups. Another theme in the responses was flexibility toaccess content on-demand, as one person described,

‘Ease of access. Possibly things that allow me toaccess the content for a certain amount of time notjust once'.

Some people mentioned that they don’t expect to keeppaying for streamed theatre or music performances whenvenues reopen.

As it has been noted in previous phases, many peoplespending online are motivated to support the artists andcultural organisations they care about. While the rate ofdonation currently remains high, there are indicationsthat audiences may not continue at this level long-term,as one person said,

‘[I’m] supporting arts companies that I currentlysubscribe to but may not be able to in the future.’

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Some continue to feelpessimistic aboutreturning to events long-term

In September 2020, 70% of respondents say they areparticipating in online arts or cultural experiences, downslightly from 73% in July and 75% in May. Rates ofengagement online have fallen by around 5-6 percentagepoints in most states/territories, with the largest falls noted inSA (down 10%) and WA (down 8%).

Audiences are continuing to participate in a range of culturalactivities at home, such as listening to music (90%) andreading for pleasure (87%). Smaller, but consistent,proportions are making art or craft (41%), making music (24%)and making videos or doing photography (23%).

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Participating at home


Most audiences arecontinuing to participatefrom home, however insome regions, slightlyfewer are engaging online


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Most types of onlineengagement are steady,and 4 in 10 are continuingto discover new worksIn terms of the types of online experiences people areengaging with, most types of experiences are attractingsimilar rates of engagement to July 2020. Participation in pre-recorded performances and events continues to reach thelargest proportion of audiences, though this rate has fallenslightly from 51% to 46%.

When asked if they, or anyone they know, has discovered anew artist, artwork, or performance online, 31% said they had,similar to July (33%), and 15% say they know someone whohas, similar to July (16%).

When asked if they are doing online arts and culturalactivities more or less frequently than before the pandemic,54% say they are engaging online more frequently, consistentwith July (54%). More of these audiences expect to continueto do online arts and cultural activities after the pandemicends, too (74% compared to 72% in July).

The data shows that the market for digital offerings is notdeclining. When asked if they have paid for an experienceonline, 39% of respondents said they have, compared to 36%in July and 34% in May 2020.

The rate of donation appears stable (20% compared to 19%in July), as is the proportion subscribing to digital platforms(10%, stable). The proportion paying for single pay-per-viewexperiences has risen (21%, up from 16% in July and 12% inMay), potentially as a result of more offers coming online.The proportion of those paying who have spent over $100 inthe fortnight before data collection, has fallen slightly, from17% to 14%.

Slightly more people arepaying for experiences,but not necessarilyspending more


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Figure 3: Have you paid for any online arts & culture experiences inthe past fortnight? (Phases 1, 2 and 3)


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In Phase 3, audiences were asked ‘Thinking about yourlikely future spending online, if any, can you tell us whatyou’d prioritise?’

Many people mentioned classes, workshops and learningopportunities, across all artforms, skill levels and agegroups.

Another theme in the responses was flexibility to accesscontent on-demand, as one person described,

‘Ease of access. Possibly things that allow me toaccess the content for a certain amount of time notjust once'.

Some people mentioned that they don’t expect to keeppaying for streamed theatre or music performances whenvenues re-open.

As it has been noted in previous phases, many peoplespending online are motivated to support the artists andcultural organisations they care about. While the rate ofdonation currently remains high, there are indications thataudiences may not continue at this level long-term, as oneperson said,

‘[I’m] supporting arts companies that I currentlysubscribe to, but may not be able to in the future'.

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Audiences have multiplemotivations for paying foronline experiences

To explore the data in more detail and find out howaudiences for your work are responding, visit thestudy’s Australian homepage at:www.thepatternmakers.com.au/covid19

There, you can access a range of Fact Sheets and adynamic dashboard, to help you explore the results bylocation, artform and other variables. Instructions andtips for using the dashboard are available in a shortvideo.

To receive future Snapshot Reports, Fact Sheets, andresources in your inbox, as soon as they are available,you can opt in to receive Audience Outlook Monitornews at the link above.

If you have a question, or an idea to put forward,relating to this study, you can [email protected].

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What's next?

Patternmakers acknowledges Aboriginal and Torres Strait Islander peoplesas the traditional custodians of our land – Australia. We acknowledge theGadigal of the Eora Nation as the traditional custodians of this place wherePatternmakers is based, and pay our respects to their Elders past, presentand emerging

http://www.thepatternmakers.com.au/covid19

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