Creative Trust – Constituent Briefing Creative Trust: Constituent Briefing February 9, 2009 at 2:30 p.m. Toronto 1
Creative Trust – Constituent Briefing Agenda: 3:00 - 5:30 p.m. • Emerging Practices in Arts Consumer Segmentation • Discussion • Peer-to-Peer Marketing In Practice • Discussion 2
Creative Trust – Constituent Briefing Emerging Practices in Arts Consumer Segmentation 3
Creative Trust – Constituent Briefing http://eq.canada.travel/?sc_cid=eq1 4
Creative Trust – Constituent Briefing How do you think about your audience? What attributes distinguish them from each other? 5
Creative Trust – Constituent Briefing Segmentation Models: Performing Arts Ticket Buyers: Major University Presenters (2007) 6
Creative Trust – Constituent Briefing Online Survey Methodology • Protocol builds on qualitative data from 195 interviews • 51,541 invitations sent to 14 email lists • 7,645 responses received (~15% response) • Lengthy survey (about 15 minutes to complete) • Aggressive use of incentives • Survey data matched to purchase data through email address • Acknowledge bias from self-selection and bias from online administration 7
Creative Trust – Constituent Briefing Ticket Buyer Model: Input Variables • Core values (13 inner-directed, 9 outer-directed) - e.g. “ Rej ecting authority and making your own rules” • Cultural attitudes (e.g, interest in specific cultures) • Preference levels for 27 types of performances • Appetite for educational content • Price sensitivity • Social context of attendance • Political and religious beliefs • Innate intelligences (Howard Gardner’s model) 8
Creative Trust – Constituent Briefing Analysis Approach: Cluster Analysis • Different combinations of variables were tried • Segments are designed to be as different as possible • Data on Gardiner’s intelligences are intuitive and useful • Very multi-dimensional model • Driven by core values, cultural attitudes, preferences and tastes - NOT driven by demographics or purchase behaviors 9
Creative Trust – Constituent Briefing Purchase behaviors paint an incomplete picture of preferences UFPA UMD UMS % of all respondents who bought modern dance 9% 13% 16% % of respondents who reported high interest 35% 25% 27% in modern dance (6 or 7 on scale of 1-7), but who did not purchase modern dance in the past 2 years % who reported moderate to low interest in 56% 62% 57% modern dance 100% 100% 100% 10
Creative Trust – Constituent Briefing Overview of the Ticket Buyer Model: Ordered by Risk Tolerance 11
Creative Trust – Constituent Briefing 1. Mavericks • Fearless, values-driven consumers • Core value is challenging authority • Thought leaders with existential intelligence • Primary attraction is to linguistic art forms - Fantasy-seeking theatre-goers • About six in ten are students, many are artists • Quintessentially adventurous - Risk for risk’ s sake • Very price sensitive • Most attend with friends, but also not afraid to attend alone 12
Creative Trust – Constituent Briefing 2. Experientials • Trust the presenter • Want to be taken on the full ride • High tolerance for risk - Most likely to seek out adventure, discovery, surprise • More intellectually driven than emotionally-driven - Attracted to politically-charged content • Preference for contemporary dance and theatre • Advance planners, working full-time • Multi-buyers, most likely to subscribe 13
Creative Trust – Constituent Briefing 3. Remixers • Urban arts omnivores - Love that art can be digitized, remixed and sampled • Culturally-directed - S trong sense of their own cultural roots - High interest in specific cultures • Preference for contemporary art forms, not classical - Healthy appetite for new work by living artists - Multiple intelligences • Socially-driven, most likely to be Initiators • Embrace technology • Younger, but not students 14
Creative Trust – Constituent Briefing 4. Diversity Seekers • Most outer-directed of all segments - Driven by a need to understand the world and their place in it S ense of duty to mankind, commitment to social j ustice - • Most emotionally reflective of all segments - Need and ability to empathize with others • High preference for world/folk music and dance • Naturalistic intelligence • Not into urban culture • 80% female, strong nurturing instinct • Likely to attend with children 15
Creative Trust – Constituent Briefing 10. Serenity Seekers • Take comfort in the familiar, do not want to be challenged - 90% prefer ‘ a sure choice’ • Desire a peaceful, calming experience - Not looking for emotional intensity • High preference for symphonic music, chamber music - Little appetite for new works • Attracted to authenticity and historical accuracy • Tend to be males, retired, age 65+ • Attend with spouse • Conservative political views 16
Creative Trust – Constituent Briefing Segmentation Models: Performing Arts Donors: Major University Presenters (2007) 17
Creative Trust – Constituent Briefing Five Segment Donor Model, Based on Motivations for Giving PERFORMING ARTS DONOR SEGMENTATION MODEL (N=1,738) Youth-Focused Intrinsics 21% 22% Marquee Donors Networkers 23% 23% Co-Creators 11% 18
Creative Trust – Constituent Briefing Institution-Specific Attitudinal Customer Models: Steppenwolf 19
Creative Trust – Constituent Briefing Steppenwolf Customer Model • Motivated by a desire to more deeply engage single-ticket buyers - Research supported by Wallace Foundation • Survey probes knowledge and background in theatre, attitudes about risk, etc. • A major focus on how people engage with the art form - Before shows, after shows 20
Creative Trust – Constituent Briefing Five-Segment STC Customer Model STEPPENWOLF CUSTOMER MODEL (Does not reflect frequency of attendance, but rather the overall proportion) High Impact Loyalists Selective Story- Seekers Ensemble 15% Followers 22% Topic- Progressive Driven Theatre Geeks Socializers 19% 21
Creative Trust – Constituent Briefing Key Indicators of Risk Tolerance SEGMENTS, BY KEY INDICATORS OF RISK 7 I avoid plays with vulgar language, violence, or explicit 6 sexual content I enjoy being taken beyond 5 my comfort zone with a piece of theatre (1=Disagree, 7=Agree) I don't like radical re- 4 interpretations of classic works I avoid plays that address 3 sensitive issues or problems such as domestic violence I enjoy plays without a clear 2 narrative (i.e., abstract or non-linear form) 1 High Impact Ensemble Progressive Topic- Selective Loyalists Followers Theatre Driven Story- Geeks Socializers Seekers 22
Creative Trust – Constituent Briefing Five Underlying Dimensions of Engagement Five Factors Factor Analysis of Engagement Variables (Principal Components Analysis) Readers Actors Bloggers Talkers Listeners (1) (2) (3) (4) (5) Q# Item TQ12B Read a review of a production you are going to see 0.81 0.18 TQ10A Read critical reviews of theatre productions 0.74 0.20 0.17 0.13 TQ14D Read a review of the play 0.66 0.28 0.16 TQ12F Read program notes before curtain 0.44 -0.15 0.34 TQ10C Read plays on your own for enjoyment 0.84 0.14 TQ12A Read the play in advance of attending 0.15 0.73 0.15 TQ10D Write, perform in or work on plays or musicals -0.11 0.71 0.20 0.16 TQ10E Travel to other cities for the purpose of seeing theatre 0.17 0.34 0.21 0.12 TQ14E React to the play in an online blog or forum 0.76 0.16 TQ10B Read blogs about theatre or comment on blogs 0.10 0.17 0.73 TQ12C Seek out information about the play online 0.28 0.58 -0.11 TQ14F Find out more about the cast, director, or production team 0.22 0.23 0.55 0.22 0.12 TQ14A Talk about the play on the way home or over drinks or dinner 0.72 TQ14C Discuss the play with others over the ensuing days and weeks 0.11 0.19 0.18 0.70 0.16 TQ12G Discuss an upcoming play with friends who've already seen it 0.30 0.14 0.15 0.58 TQ14B Stay afterwards for post-performance discussions 0.16 0.82 TQ12D Attend pre-performance talks 0.16 0.25 0.17 0.70 TQ12E Read Steppenwolfs Backstage magazine 0.37 -0.18 -0.11 0.39 23 23
Creative Trust – Constituent Briefing Institution-Specific Attitudinal Customer Models: The Philadelphia Orchestra 24
Creative Trust – Constituent Briefing Philadelphia Orchestra Ticket Buyer Model: Input Variables • Musical tastes: eclectic vs. classical-focused • Knowledge level about classical music • Appetite for new works by living composers • Preferences for different concert formats • Motivations for attending • Influence of purchase decision factors • Demographics and purchase behaviors were used only as descriptive variables, not segmentation variables 25
Creative Trust – Constituent Briefing Four-Segment Customer Model PHILADELPHIA ORCHESTRA CUSTOMER SEGMENTATION MODEL (N=1,075) Casual Followers Warhorses 28% 23% Old School Adventurous Connoisseurs Intellectuals 24% 25% 26
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