Patternmakers 30/11/23 Patternmakers 30/11/23

City lights to red dirt: Connecting with audiences across Australia

Audiences in big cities, outer suburbs and the regions have vastly different contexts, and they behave differently when it comes to attending cultural events.

In this Audience Outlook Monitor report, ‘City Lights to Red Dirt’, we look at the geographic trends in data collected from past attendees. If Australia is to achieve equity of access for audiences, regardless of location, there are insights for programming, marketing and strategy.

Our cities, suburbs and regions are different places today and audiences are responding in interesting ways.

Attendees of arts and cultural events are feeling the pressure of the housing crisis, changing work and commuting patterns, navigating weather events and approaching travel and leisure differently.

In this new report, ‘City Lights to Red Dirt’, we look at the geographic trends in data collected from past audiences of cultural events.

Click the buttons below to download the report, as a PDF or accessible Word version, or read on for more of the findings.

PDF REPORT

WORD report

Three chapters, three geographic audience segments

The report compares audiences in three main geographic areas, providing insights for connecting people with culture where they live and the places they visit.

Download the chapters as separate fact sheets below.

Audiences in Big Cities

Arts audiences in big cities are experiencing the arts at high levels, but with market saturation and the shifting dynamics of Australia's CBDs post-pandemic, new challenges have emerged for organisations to cut through.

In Australia’s big cities, more people are attending arts events more often, but resident arts organisations are competing in a congested market. The data from past attendees shows that:
- 85% of big city audiences said they attended at least one kind of cultural event in the fortnight before data collection. Attendance is also more frequent amongst big city arts audiences: 38% attend a gallery or museum at least once a month, compared to outer suburbs (27%) and regional audiences (29%).
- Arts audiences living in big cities are spending more on tickets to in-person live events and cultural activities: 7 in 10 spent more than $50 the fortnight before data collection (69%), compared to 65% of outer suburb audiences and 57% of regional audiences.
- While most audiences are drawn to fun, uplifting and even escapist content right now, big city audiences are showing a greater appetite for challenging, topical content in the next 12 months (52%), compared to audiences living in outer suburbs and regional areas (both 41%). With more options on offer, they are also more likely to tune into reviews when considering what to attend.

AUDIENCES IN BIG CITIES

Audiences in Outer Suburbs

Outer suburbs are the biggest growth areas in Australia right now, and have an expanding arts audience looking for more cultural experiences closer to home — but don't yet have enough venues nearby to accommodate.

In the outskirts and outer suburbs of big cities, the rate and frequency of attendance are slightly lower than big cities, but the market is growing, as more people move to more affordable areas where families can enjoy different lifestyles. The data from past attendees of events shows:
- Audiences in outer suburbs are feeling slightly more pessimistic than optimistic about their financial situation, with almost half (46%) say they’re worse off than they were a year ago, and 25% expect to be financially worse off in the coming year.
- Audiences in outer suburbs (combining both residents and visitors) were most likely to attend a cinema locally (59%), whereas big city audiences were comparatively more likely to attend a local live performance. Audiences in the regions were most likely to attend a fair/festival locally (40%) or visit a museum or gallery (51%).
- Audiences in outer suburban areas are the least likely to be participating in online events right now. Half of outer suburbs residents say online arts events and experiences are playing a small (43%) or substantial role (8%) in their life, while another 49% say they play no role.

AUDIENCES IN OUTER SUBURBS

Audiences in the Regions

Across Australia's diverse regions, audiences are experiencing access to arts and culture differently. Factoring in extra time and travel costs means heightened barriers in 2023, but with a decentralising trend, more options could be on the cards.

Regional Australia is changing, with demographic shifts seeing some regional places grow dramatically in recent years – but rising costs of travel are leaving some isolated. There are different patterns for large towns, smaller villages and bush or outback areas, but on average, the data shows that:
- Regional audiences indicated feeling less stable financially and more pessimistic about their future finances than those in outer suburbs and big cities, and many are being selective about what they attend right now. Almost half (47%) say they are ‘worse off’ financially than they were one year ago, and 26% expect to be ‘worse off’ in the coming year.
- Regional audiences have lower levels of access to some types of events, like live performances, and therefore attend less often: 52% of audiences in the regions said they attend performing arts events at least once a month or more, lower than proportions in big cities (77%) and outer suburbs (63%).
- Some art forms appear to reach audiences in regional areas better than others. For instance, in the past 12 months, 51% of regional audiences have attended contemporary music and 57% have attended libraries, which are similar to attendance rates in urban areas.
- Four in ten regional audience members say that in the coming year, they’ll be most attracted to stories that are ‘about or from my local community’ (39%), slightly higher than the rate in big cities (32%) and outer suburbs (28%).

AUDIENCES IN THE REGIONS

Get the data at a glance

Click the button below to download our Fast Facts for attendance, inflationary pressures, programming preferences and ticketing and marketing behaviour.

Fast Facts

Read the ‘Audiences 2023+’ report

In case you missed it, click the button below for the key insights from the August 2023 National Snapshot.

Audiences 2023+

Use the dashboard to get results for your artform and region

Survey data from Phase 9, which heard from over 8,800 respondents, has been uploaded to the dashboard, which now contains insights from over 100,000 Australian participants.

You can use the dashboard to explore the findings by state/territory, artform and audience segment.

It’s freely available to access, just click the image below and use the login details provided on the dashboard page.

About the Audience Outlook Monitor

The Audience Outlook Monitor provides the results of a study that has tracked audience sentiment over the course of the COVID-19 pandemic.

Data was collected in six phases throughout 2020-2022 and is again being tracked in 2023.

Government agencies across Australia are collaborating with research agencies Patternmakers (Sydney) and WolfBrown (USA) to produce this resource. The dashboard is freely accessible and designed to help artists and cultural organisations of all kinds to make the best possible decisions.

How to find out more

To receive new releases directly into your inbox, as soon as they are available, you can opt in to receive updates below.

If you have a question, or an idea for using this data, please contact Patternmakers at info@thepatternmakers.com.au

About the Author

Peta Petrakis
Research Analyst

Patternmakers 23/1/23 Patternmakers 23/1/23

How the pandemic has changed audience accessibility

Download the Access Report to find out more about how the state of access in our sector has changed, case studies to demonstrate the data through lived experience, and resources and tips to prioritise the access needs of audiences.

Attendance by audiences with access needs is recovering – but at a slower rate than average

In our latest Audience Outlook Monitor publication, we take a look at the attendance insights and barriers for audiences affected by access issues, including the return of crowds, the cost of living crisis and the success and sustainability of digital events.

Click the images below to download a PDF of the full report and an infographic of the key facts:

Report: How the pandemic has changed audience accessibility

The findings are also available in the following accessible versions:

Read on for the key insights:

Attendance levels among audiences with access needs have fluctuated during the pandemic. Data from October 2022 shows that 7 in 10 (69%) disabled audience members attended a cultural event recently – more than three times the level seen in July 2020 (19%). However, these attendance levels are increasing at a slower rate than average.

The fact that arts spaces, including museums, have been less busy has offered some disabled and immunocompromised audiences improved access to cultural activities at certain points in the pandemic.
The availability of digital events dramatically improved access for some segments. In October, 47% said they participated online recently, compared to 39% of those without access needs, though some note a dramatic reduction in the availability of online events.
Attendance has yet to return to pre-pandemic levels – and may take longer than audiences without access needs. 6 in 10 (58%) audiences with access needs are attending performing arts less than they used to, pre-pandemic, compared to 41% of audiences without access needs.
This report highlights insights from the Audience Outlook Monitor surveys, along with four case studies of audiences with access needs. They show that access needs continue to vary widely – and that more work is needed to address continuing and new barriers.

Audiences with access needs are changing their behaviour and require updated strategies

While in general disabled audiences are more likely to face barriers to attending cultural events, the pandemic has led to new and heightened access needs. 26% of audiences surveyed identify as being disabled (10%) or immuno-compromised themselves (10%), or close to someone who is (9%), showing the impact of these issues.
There are signs that more people may be experiencing access challenges due to factors such as long COVID, reduced energy levels and re-entry anxiety.
Audiences with access needs are twice as likely to say their scheduling preferences have changed in light of the pandemic . 1 in 3 (32%) say there has been a change in the time, day or location of events, compared to 17% of audiences without access needs.
Some audiences say that they’re now more likely to attend during the daytime and/or weekdays to avoid crowded times or places, minimise fatigue, and consider the availability of public transport when planning their attendance.
Financial pressures disproportionally affect audiences with access needs. The proportion citing financial reasons as a barrier to attendance is larger among audiences with access needs (49%), compared to those without (39%).
Although digital events can help to overcome barriers to live attendance, their availability is changing, and they are not for everyone. 75% of audiences with access needs see a role for digital events in their lives, but many are eager for opportunities to reconnect with the arts in-person, especially after times of isolation.

The pandemic has shown it’s possible to challenge the status quo to make the arts more accessible

In some senses, the pandemic made the needs and experiences of people with disability more visible. Collective harm minimisation strategies, like lockdowns, encouraged the public to consider the needs of immunocompromised individuals and those at risk of serious health outcomes from COVID-19.
There are signs that work by d/Deaf and disabled artists and disability activists is contributing to a greater cultural awareness of disability and organisational capacity for access. Deaf artist Sue Jo Wright suggests even the presence of Auslan Interpreters at daily press conferences during lockdowns helped bring more exposure to the d/Deaf community.
After being advocated for by people with disability for many years, the livestreaming of arts events became a central part of cultural life during lockdowns – although there’s still work to be done to find sustainable models for digital events.
Some people with disability will be limited in their ability to participate in public life while the virus continues to circulate, and the arts has an essential role to play in maintaining social connection and reflecting these experiences.
The pandemic showed us that it’s possible to reorganise existing social practices for the collective good, especially where accessibility is concerned. Vital conversations, led by people with disability, have taken place – and the lessons learned mean the sector is better-equipped to take action to ensure the arts are accessible and inclusive.
There is an opportunity to review and update Disability Action Plans to capitalise on what has been learned and explore new strategies.

This report also includes four case studies to augment data with lived experience

A series of structured qualitative interviews were undertaken with audience members who identify as d/Deaf or disabled. Hearing from people with lived experience of inaccessibility highlights some of the challenges and opportunities for the arts and culture sector.

Opportunities exist for improving access on-site, online and organisationally

Together, the Audience Outlook Monitor and case study research reveal some practical suggestions that are relevant at this time:

On-site

Provide as much information as possible, ahead of events, whether it’s about venue accessibility, COVID-safety measures or ticketing policies, or the performance or venue itself. Providing information up-front about what to expect will help individuals with access needs plan their attendance on-site.
Check whether all Front of House staff have received Disability Awareness Training, and/or appoint a dedicated roving staff member before, during and after live events to proactively offer support. As we return to in-person events, it’s important to recognise that encountering untrained staff can have an emotional toll for audiences with disability.
With the use of QR codes becoming commonplace during the pandemic, venues might think about using this technology to offer alternative options for ordering food and drink, audio descriptions or Auslan interpretation.
Restore and increase sensory-friendly options such as relaxed performances, noise-cancelling headphones and quiet spaces to ensure audiences with sensory needs are able to fully participate. Tactile experiences weren’t possible during some stages, but most audiences say it’s now time to offer these again.
Review seating options as attendance numbers increase. Find ways to make seating available in most spaces of the event or venue – such as foyers and queuing areas – as well as performance and exhibition spaces. In addition to audiences with mobility needs, 30% of audiences say they need seating to enjoy attending.

Online

Websites:

When welcoming disabled audiences back, look into having a dedicated accessibility page on your website, so that audiences with access needs can simply and easily find the information they need. This avoids placing the ‘burden of asking’ on audiences with access needs and demonstrates a commitment to inclusivity.

Digital productions:

Now that in-person events have returned to a regular schedule, continue investing in digital work that is sustainable for your organisation. The pandemic taught us that digital events play a vital role in accessibility and overcoming barriers to participating in cultural experiences – and many want them to continue.
Hybrid events are one option, but sometimes digital attendees can feel sidelined compared to in-person attendees. Consider digital-only events, or appointing a digital facilitator to ensure people tuning in from home are given the opportunity to engage with performers/speakers and ask questions during Q&A’s.

Marketing/communications:

Use inclusive language and accessible formats in digital advertising, communications and booking systems to let potential attendees know that an event or venue is accessible to all. This includes Plain English resources or Auslan interpretation, audio descriptions, image descriptions and alternative text.

Organisationally

As we look to the next chapter, the conversation about accessibility is evolving. Consider reviewing and updating your Disability Inclusion Action Plan to address the heightened needs of audiences with access requirements.
Incorporate accessibility early, for example when planning and decision-making. Add an accessibility line to your budget templates and develop a checklist for accessibility considerations when conducting important tasks like selecting venues, programming and commissioning works, advertising opportunities, launching major marketing campaigns and ticketing major events.
Involve disabled and immunocompromised people in the planning process of your major programs and projects. This can assist in fostering allyship and creating opportunities for people without access needs to collaborate with disabled and immunocompromised people on access strategies.
With cost of living pressures disproportionately affecting disabled audiences, explore revenue models that address financial barriers such as subsidised ticketing policies, accessibility funds supported through grants, donations or fundraising, or partnering with advocacy groups and support networks.

Further resources

Below is a list of additional resources, with guidance on improving accessibility for audiences.

Accessible Arts resources: https://aarts.net.au/arts-resources/
Arts Hub Artists Essentials Toolkit #9: Accessibility for your arts project: https://www.artshub.com.au/news/career-advice/accessibility-for-your-arts-project-artists-essentials-toolkit-9-2501288/
Melbourne Fringe, Producer’s Guide to Access: https://melbournefringe.com.au/wp-content/uploads/2022/08/Producers-Guide-to-Access-1.pdf
Morwenna Collett Consulting resources: https://www.morwennacollett.com/resources
National Endowment for the Arts, Design for Accessibility: A Cultural Administrator’s Handbook: https://www.arts.gov/about/publications/design-accessibility-cultural-administrators-handbook
Smithsonian Guide for Accessible Exhibition Design: https://www.sifacilities.si.edu/sites/default/files/Files/Accessibility/accessible-exhibition-design1.pdf