1. APPENDIX 1: Qualitative Research Conclusions

2. Participation in the Arts Research, 2006Page 2 ARTS RISK MODEL & OVERALL STRATEGY Financial Risk Social Inclusion Risk Practical Risk Enjoyment Risk HIGHEST RISK LOWEST RISK Arts Lovers SatisfiedDisengagedInterestedDisinclined 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 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 Prepared to accept more riskPrepared to accept less risk 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.

3. Participation in the Arts Research, 2006Page 3 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 didn’t 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 didn’t 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 didn’t participate, but were much more likely to identify themselves as the sort people who did participate in the Arts. CONCLUSIONS FROM QUALITATIVE RESEARCH The kind of person who participates in the Arts The kind of person who does not participate in the Arts The InterestedThe Disinclined

4. Participation in the Arts Research, 2006Page 4 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. CONCLUSIONS FROM QUALITATIVE RESEARCH

5. Participation in the Arts Research, 2006Page 5 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 didn’t 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. CONCLUSIONS FROM QUALITATIVE RESEARCH

6. Participation in the Arts Research, 2006Page 6 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 didn’t 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. CONCLUSIONS FROM QUALITATIVE RESEARCH

7. Participation in the Arts Research, 2006Page 7 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. CONCLUSIONS FROM QUALITATIVE RESEARCH

8. Participation in the Arts Research, 2006Page 8 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 it’s 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. CONCLUSIONS FROM QUALITATIVE RESEARCH

9. Participation in the Arts Research, 2006Page 9 Five common features that would make the decision to participate an easy one…. Variety - drama, comedy and colour Escapism - takes me away from work Comfortable with good facilities Live stage acts Quality – Big Names 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: 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. CONCLUSIONS FROM QUALITATIVE RESEARCH: The Ideal Event

10. Participation in the Arts Research, 2006Page 10 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 art’s 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. CONCLUSIONS FROM QUALITATIVE RESEARCH: The Ideal Event