Relationship marketing, audience retention and performing arts organisation viability

Marketing strategy in performing arts organisations has become particularly important in the increasingly competitive environment in which the arts operate. Since the late 1980s there has been a necessary shift in focus to audience development away from product development. This change in focus is being encouraged to ensure the long-term viability of performing arts organisations (PAOs) and micro-economic reform. While government reports have recommended strategies aimed at building audience based recognition, this is an expensive approach for many PAOs and does not produce short term returns. Little attention has been paid to building enduring relationships with existing audiences as a way if having a more dramatic impact on PAOs' long-term viability. This paper explores this theme through relationship marketing and the implication of retaining existing audiences. The paper identifies the changing cultural environment which has led to the importance if marketing. It then explains the concepts if relationship marketing and its pertinence to PAOs' viability by presenting a loyalty ladder. The structure is modelled as a dynamic conceptualisation of the relationships (audience and organisation) to assist arts managers to decide whether to focus their efforts on catching or keeping customers to maximise earned income.

An investigation of the development of navigation design guidelines for online educational applications delivery to a primary school audience

Despite growing interest in educational websites for children, there has been surprisingly little research conducted into the design of websites intended for a younger audience. This research aims to determine how the design principles identified in the extant body of literature, might be fused with the development practices currently employed within a focus organisation (case study organisation), to synthesise and partially validate a set of website navigation design guidelines for use when developing website navigation for primary school students, between the ages of nine and twelve years.

Students` performance and perception linked to the use of group and audience response systems (GARS) in large classes

This paper reports an investigation into the impact of Group and Audience Response Systems (GARS) on students’ learning outcomes, and perceptions of learning in large classes. Performance is compared between students who used the technology, and students who did not, based on progressive assignment and exam results. Perception is assessed based on an online survey questionnaire. The key findings of this study indicate that students who used the technology achieved, on average, 6.70% higher grades compared to those who did not. Further, use of the technology improved the overall achievement of students, on average, regardless of their perception of whether or not it would provide
an academic advantage. Key findings and future use of the technology are discussed.

(falling into) the space between the screen and the audience

The following is from a presentation at the Double Dialogues Conference, On Space, at The University of Otago, Dunedin, June 3, 2006.There is a space between things, and between things there is a space – a gap. This presentation considers the gap – that space in the cinema – between the audience and the screen. I am referring to the Cinema as an institution, and the cinema as a location. It is a space where films are screened: (often) with a screen, a projector facing the screen and an audience hovering between.

Giving lectures a voice for a cross-cultural audience

The purpose of this poster is to outline a current research project investigating the value of the inclusion of online audio lectures, in units involving cross-cultural student audiences. This research project arose from two contributing factors: The increase in the number of international students, studying both on and off campus, and the movement for universities to go 'online'.

Audience experience : measuring quality in the performing arts

Traditional measures of quality in the performing arts include critical reviews, awards, attendance data, the reputation of the director, company or lead performers, and attributions of success such as festival participation or sponsorship and grants. However, the recent literature on audience values, quest for authenticity and the personal experience suggests the need for empirical research into the capacity of the audience experience as an appropriate and important measure of quality in the performing arts. The authors use primary research with performing arts audiences to explore notions of quality, audience risk and audience experience to redefine the quality-measurement paradigm.

Measuring audience response on-line : an evaluation of the portable audience response facility (pARF)

If it is the case that artists and art explore organization of the brain (Zeki & Lamb, 1994), then the investigation of response to artistic performance holds promise as a window to perceptual and cognitive processes. The portable Audience Response Facility (pARF) is an instrument for recording real‐time audience response (Stevens et al. 2009). Twenty, handheld, Personal Digital Assistants (PDAs) collect responses on customizable skin interfaces. The pARF server transmits the customizable options, synchronizes devices and collects data for export. In this paper we report ratings of the usability of the pARF that were collected after 37 participants had used it to continuously rate engagement along a single dimension while a female dance artist gave two performances of a short solo contemporary dance work. The motion of the dancer was also captured as she performed the piece but only usability rating data are reported here. Ratings indicate that the cognitive load imposed by continuously rating engagement while watching a dance performance was manageable and the pARF was easy to use. An extended familiarization phase may further reduce dual task demand.

Representing experience : changing audience relationships in contemporary art

By practice and research this exegesis includes the audience in the making of art, by using the responses of others that inhabit the artwork. It also establishes 'not-knowing' as a methodology to examine changing relationships to audience in contemporary visual arts.

Hidden stories : listening to the audience at the live performance

This paper explores how audiences describe and evaluate their experience of a live performance. Much of the arts marketing literature measures audience satisfaction with the entire event, including pre and post show talks, parking, ticket price, seating, merchandise and refreshments. Research undertaken at a range of live performing arts events in 2008 and 2009 revealed ‘hidden stories’ of audience members’ responses to performances. These responses are indicative of four aspects of the audience experience – knowledge, risk, authenticity and collective engagement. The stories, and their indicators, are the audience measure of quality of performance. This paper uses audience research at three contemporary theatre companies, to test and validate the audience experience as a new quality assessment instrument: the Arts Audience Experience Index.