APPENDIX 1: Qualitative Research Conclusions

1
APPENDIX 1 Qualitative Research Conclusions
2
ARTS RISK MODEL OVERALL STRATEGY
To reiterate several major areas of risk which
impact on the decision to participate and general
feelings about the Arts were identified at the
Qualitative stage. Across segments these have
varying levels of influence.

• Financial Risk
• Social Inclusion Risk
• Practical Risk
• Enjoyment Risk

Cost risk occurs where there is enjoyment or
social or practical risk involved in participation
e.g. Having the right clothes to wear Not
understanding what everyone is talking about
Being culture specific
LOWEST RISK
HIGHEST RISK
e.g. Being able to find food or parking close by
Having to travel further than for local
entertainment Getting wet.
e.g. Unfamiliarity with the genre or the Subject
matter may not like it or companions may not
like it
Satisfied
Disengaged
Interested
Disinclined
Arts Lovers
Prepared to accept more risk
Prepared to accept less risk
3
CONCLUSIONS FROM QUALITATIVE RESEARCH

• General Feelings about the Arts and Barriers to
  Participation
• Although both Segments gave the Arts overall high
  value ratings, the Interested segment had more
  developed personal opinions/beliefs about the
  Arts. They were more likely to identify
  themselves with the type of person who
  participated in the Arts and gave broader
  descriptions of what they felt the Arts offered
  society generally.
• The objective benefits the Interested perceived
  that the Arts offering to society were benefits
  they also personally valued about the Arts. This
  suggests that they engage with the Arts at the
  level of social debate as well as in their
  personal lives.
• The Disinclined, on the other hand, were more
  likely to view the Arts purely in terms of
  entertainment and offered few, or more socially
  desirable responses, about the objective value
  of the Arts.
• We used a task that asked the groups to sort
  pictures of different types of people into those
  who did and didnt get involved in different
  types of artform. The Disinclined were more
  likely to suggest that the kinds of people who
  went along to most kinds of Arts events were
  wealthier, better dressed and a more
  professional/intellectual crowd. They held
  stereotyped notions about who didnt participate,
  suggesting in response to stimuli that blue
  collar workers and younger people were less
  likely to be interested in the Arts.
• The Interested held the same stereotyped notions
  about who didnt participate, but were much more
  likely to identify themselves as the sort people
  who did participate in the Arts.

The kind of person who does not participate in
the Arts
The kind of person who participates in the Arts
The Interested
The Disinclined
4
CONCLUSIONS FROM QUALITATIVE RESEARCH

• The Interested and Disinclined differed in the
  breadth and depth of descriptive terms they used
  to talk about particular Artforms. For the
  categories Music/Dance, Outdoor Arts, Theatre and
  New Media (e.g. Video art) the Interested offered
  about a third more descriptive terms than the
  Disinclined. For Visual Arts they offered about a
  quarter more.
• Neither segment was familiar with Design as an
  artform and many had difficulty describing what
  it meant. The descriptive words that were used
  were abstract or related to obvious
  characteristics.
• Difference in the Barriers
• There was a tendency for overlap between segments
  in terms of the barriers they experienced. The
  barriers for the Interested were largely
  practical (cost and associated costs or
  difficulty of access) and were absorbed in the
  gamut of barriers experienced by the Disinclined.
  
• The Disinclined tended to experience many more
  social barriers. As noted above they felt the
  Arts was out of their league socially and they
  were much more likely to indicate that they would
  feel out of place with the people they
  perceived going to Arts events.
• Difference in the Triggers
• The biggest draw card to the Arts for both
  segments was live, varietal, energetic
  performance which offered an element of escapism.
  Both segments said that when they did
  participate it was viewed as a treat.
  However, the Interested segment experienced more
  external triggers. For example, the feeling that
  they have enriched themselves by the act of
  going, e.g. you feel better after you have
  gone. There may be an element of keeping up
  appearances to this attitude. The Disinclined
  expressed that they felt some people participate
  in the Arts to be seen to do so, they did not
  experience the feeling that it was socially
  beneficial to participate.

5
CONCLUSIONS FROM QUALITATIVE RESEARCH

• Breadth and Depth of Knowledge about Venues and
  Programming
• Venues
• Awareness of venues seemed to be dictated by size
  and the popularity of programming. Respondents
  were less able to recall contemporary/alternative
  arts venues and few had been to this type of
  venue.
• The Library and Museum were viewed as fairly
  functional venues and were not relevant to those
  without children. Those with children reported
  using them as free entertainment for the children
  from time to time.
• The Art Gallery was, naturally, perceived to have
  a stronger Arts association, but some
  descriptions of it related to its functional use
  e.g. that it was a place for tourists to view, or
  somewhere to pass the time. It was not a venue
  that people described as a relevant or
  interesting place to go on a regular basis.
  There was some perception that exhibits didnt
  change often.
• Performing arts centres were a real focus of the
  spontaneous discussion about Arts venues, this
  was very much based on the events that were
  offered rather than appeal of the venue itself.
• Perceptions of Contemporary/Alternative venues
  were that their programming was niche and that
  only industry types went to both venues.
• Neither segment spontaneously offered information
  on other Arts venues they knew of, unless the
  venue was related to a personal interest.
• Programming
• Both segments had a broad understanding of the
  programming on offer at performing arts centres
  and could name shows or events that they had been
  to (more so in the Regional group). As mentioned
  above, there were pre-conceived ideas about what
  happened at Contemporary Arts centres, but no
  real knowledge about their programmes.
• Only very few (from either segment) mentioned
  being aware of active programming at the library,
  Art Gallery or Museum. A few parents (from either
  segment) mentioned using interactive options at
  Arts Galleries/Museums/Libraries. There is a
  distinct lack of specific knowledge about
  programming in most venues. Providing more
  visible information may be important to increase
  awareness of the options available to people.

6
CONCLUSIONS FROM QUALITATIVE RESEARCH

• Promotional Material Responses and Ideas
• (Group Participants were shown a range of
  promotional flyers, venue booklets and free
  magazines and asked to identify how likely they
  would be to use these sources and what the liked
  and disliked about each one)
• For both segments, flyer style promotion is only
  effective where the event in question speaks for
  itself. If there is a big name or a famous
  production involved, respondents said flyers
  would appeal to them, otherwise they will not
  pick them up.
• Respondents from both segments reported being
  more likely to pick up booklet style promotional
  material, as they want to see a range of events
  to choose from.
• All groups reported being receptive to receiving
  both of these forms of communication in the mail.
  
• The younger Interested group were open to email
  newsletters, but no other group showed a real
  interest in this form of communication.
• For the Disinclined segment, word of mouth was a
  trusted and reliable source of information.
• All respondents said they didnt seek Arts
  specific information, but did read the various
  free magazine style publications dotted around
  the city (the regional group tended to rely on
  Time off) to seek out entertainment options.
• All groups said that the single best way to
  increase their participation using promotional
  material was to send a compiled information
  source with a calendar-style event listing to
  their homes. The scope of discussion indicated
  that it would be ideal if this were to include a
  breadth and depth of information as to the event,
  specifics about what one could expect to see
  there and full details about time, location,
  transport and facilities.

7
CONCLUSIONS FROM QUALITATIVE RESEARCH

• Promoting the Cultural Centre Responses and
  Ideas
• (Respondents were shown mocked up press
  advertisements promoting the new Cultural Centre
  development the ads contained simple images and
  some text describing the Cultural Centre)
• Respondents were generally unresponsive to the
  preliminary press materials presented as stimuli.
• They specifically disliked that there was no
  exact detail about the programme that would be on
  offer, the specific facilities and what would be
  of direct relevance to them.
• They perceived the inclusion of details about
  cost or the scale of the development to be
  sensationalist and thought that this detracted
  from the advertisements rather than adding to
  them.
• Those with children were receptive to the
  information about what will specifically be on
  offer for children to do. This sub-group was the
  only group who said they might be interested in
  going along to see the new centre.
• Overall, people reported that they were not more
  likely to visit the new Cultural Centre
  development after seeing these ads.
• The groups suggestions were that they should be
  more colourful, use happier faces and add
  variation to the text so that some phrases jumped
  out to draw their attention in.

8
CONCLUSIONS FROM QUALITATIVE RESEARCH

• Increasing Participation
• The Interested and Disinclined groups (once cost
  was controlled as a factor) were primarily
  concerned about location /venue, timing or notice
  of an event and having a companion to go with.
  These are examined in the Risk model proposed in
  the body of the report. Ways to minimise the
  impact of these risks might be
• Offer a compiled information source with depth
  and breadth information about the event, what one
  will see there, timing, cost, location facilities
  and any other features that are relevant. This
  could be done using one central Queensland
  Events website. Some respondents mentioned
  using Ourbrisbane but did not consider it
  comprehensive enough in terms of all these
  aspects of information, as it deals with a range
  of information about Brisbane.
• Incentivise group participation this is
  particularly important for the younger groups.
  Target schools, universities and youth
  organisations. Create a positive perception of
  the Arts and its viability as an entertainment
  option in the minds of this group.
• Attract people through the popular media use
  radio casting to advertise events, opportunities
  to win free tickets. Use the popular press and
  magazine style publications to broaden awareness.
  People did not report seeking out Arts
  information, but do use these regularly to access
  entertainment information.
• Location is an important moderator of
  Participation. Use the central information
  portal (website) to provide venue information,
  attempt to create familiarity with the venue.
  The provision of public transport nearby, a
  welcoming aspect to the venue (both from layout
  and staff) and clear directions on where to go
  and what to do are all things that inform the
  decision to participate. For those who already
  participate, welcoming and friendly staff are
  important to increase positive impressions of a
  venue.

9
CONCLUSIONS FROM QUALITATIVE RESEARCH The Ideal
Event
To encourage generation of Ideas about what kind
of arts event has least associated barriers to
participation, at the end of each focus group we
asked what combination of things would make the
ideal event. Responses were consistent across
the segments
Quality Big Names
Five common features that would make
the decision to participate an easy one.
Live stage acts
Comfortable with good facilities
Variety - drama, comedy and colour
Escapism - takes me away from work

• Respondents want their arts to be fun, bright
  and entertaining. Ideally the major financial,
  enjoyment, practical and social risks associated
  (see next section) with attending the arts would
  also be minimal. Though not every event can
  combine these features.
• Another idea that arose from spontaneous
  suggestions made by the groups is that the arts
  could be combined in an unobtrusive way with the
  sorts of other activities they take part in
  regularly..
• Venues that received some recognition for
  successfully combating barriers were the
  Powerhouse in Brisbane and Tjapukai in Cairns.
• In both cases people were drawn to their
  multifunctional use - incidental benefits, such
  as bars and restaurant facilities, were a draw
  card and attractive to those with families. It
  is possible that further investigation would
  reveal that location mediates certain barriers
  the Powerhouse is in a popular suburban park and
  Tjapukai is semi-open air. Those who had gone to
  these venues commented on community feel and a
  relaxed air and how you could go there for a
  reason other than the art.

10
CONCLUSIONS FROM QUALITATIVE RESEARCH The Ideal
Event

• Rather than offering highly produced stage shows
  (as respondents suggested they wanted in the
  ideal event exercise) we suspect these venues
  combat barriers by delivering arts activities in
  part through the back door. People attend the
  venues for the overall experience they offer and
  are less intimidated by the notion that they are
  taking part in The Arts.
• One might increase participation by positioning
  arts activities within accessible social contexts
  e.g. in a park, in a restaurant and café hub etc.
  Or, where the arts are tied to a venue, one
  might reposition the venue as a social hub
  emphasise the social potential for coming there
  e.g. bars, restaurants, or other close by
  entertainments.
• Social barriers are experienced relatively
  strongly by the Disinclined segment. To ask them
  to consume art for arts sake is likely to
  instigate the rise of their attitudinal barriers
  to participation. Whereas, to ask them to come
  along to an arts precinct to use a restaurant,
  café or community park land excites triggers to
  participation in regular social activity.
• It may be that adopting a strategy which aligns
  the arts (physically and attribute wise) with
  more mainstream activities would have most
  benefit in this segment.
• N.B. The quantitative part of the research
  investigated how people experienced barriers to
  participation in relation to specific venues
  around Brisbane please refer to section 4 for a
  look at how general barriers to participation in
  the arts are related to peoples perceptions or
  experiences of particular venues.