CEI2010: Philadelphia Cultural Engagement Index Commissioned by The Greater Philadelphia Cultural Alliance May 2011
© 2011 WolfBrown
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Contents 4 Overview & Key Findings 9 Methodology 19 Overall Results, 2008 vs. 2010 39 Results by Discipline 47 Additional Findings 55 A New Perspective on Cultural Engagement: 12 Activity Clusters 74 Demographic Characteristics of Activity Cluster Groups 79 A Focus on “Exclusive” Members (i.e., those who only belong to one cluster) 82 A Deeper Look at Demographic Segments by Activity Cluster 87 Exploring Intersections Between Activity Clusters 93 A Closer Look at Creative-Focused Values 96 Implications for Cultural Providers and Policymakers Appendix 1: Results by Domain Appendix 2: List of Intercept Survey Sites Appendix 3: Five Modes of Arts Participation Framework Appendix 4: Analysis of Significant Differences, 2008 vs. 2010 Appendix 5: Survey Protocol/Topline Report
© 2011 WolfBrown
Overview of the CEI • Launched initially in 2008 and updated in 2010, the Cultural Engagement Index (CEI) is a holistic, ongoing assessment of cultural engagement in the Philadelphia region, commissioned by the Greater Philadelphia Cultural Alliance with funding support from The Wallace Foundation, The Philadelphia Foundation and the Pew Charitable Trusts. • The objectives of the CEI are: – To – To – To – To – To
provide the cultural community with a new, wider lens through which to see itself create a measurement system that can detect changes in patterns of engagement over time expose opportunities for increasing cultural engagement stimulate innovation among arts and cultural organizations focus public attention on culture as an indicator of quality of life
• The first cycle of data collection was completed in summer 2008, to establish a baseline. The second cycle of data collection (a replication of the first cycle) occurred in summer 2010, and is the basis of this report. Thus, this is the first opportunity to discuss changes in levels of cultural engagement between 2008 and 2010. • Additionally in 2010, an oversample of Hispanic respondents was fielded to allow for a more indepth analysis of this growing part of the Philadelphia population. And, in partnership with ArtsRising, the arts education initiative, parents and caregivers in specific areas of the city were asked to complete a supplemental module of questions pertaining to their children’s arts activities. (Results from the ArtsRising over-sample are not reported here.) • The CEI builds on a growing body of cultural participation research conducted by WolfBrown and other researchers embracing a broader definition of “cultural participation” and situating cultural participation in a larger framework of community creative vitality. © 2011 WolfBrown
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Key Themes and Observations (2010) • Overall, the Cultural Engagement Index is up, from 100 in 2008 (baseline year) to 111 in 2010. • As with 2008, the 2010 CEI finds that Philadelphia area residents are vitally engaged in diverse forms of culture expression, including music, dance, theatre, reading and writing, visual arts and crafts, and history, science and nature activities. • The CEI is based on two types of measurements, one behavioral (i.e., frequency of participation) and one attitudinal (i.e., importance or “salience” attached to the activity); for each of the 54 activities investigated in 2010, an index was computed that draws on both of these measurements. Thus, a change in the CEI may be attributable to a rise or fall in frequency of participation, or a rise or fall in salience, or both. • No significant declines were observed between 2008 and 2010 for either frequency or salience, for any of the 54 activities. Frequency levels declined for a small number of activities, but not significantly. For most activities, frequency levels did not change significantly, but fluctuated within the margin of error, usually representing a small increase over 2008. • Frequency levels for the following activities increased by a significant margin. Note that all of these activities are participatory in nature, or involve the Internet: – Sing; Play a musical instrument; Make up original tunes or compose music; Participate in pageants or theatrical programs in places of worship; Take acting lessons; Make crafts of any kind; Take photographs with artistic intentions; Prepare ethnic or traditional foods of your heritage; as well as all of the online creative activities, including: Listen to Internet radio (streaming audio); Download music from the Internet; Share something online that you created yourself such as music, artwork, photos, stories or videos; and Take material you find online like songs, text, or images and remix it into your own artistic creation
• While frequency levels for most activities did not change significantly, salience levels were more likely to have increased between 2008 and 2010. In other words, while participation behaviors for most activities did not change, attitudes about some activities did change. – For example, salience levels increased substantially for five out of the eight dance activities included in the survey, including “attend performances by dance companies” – suggesting heightened interest in dance, generally. – Also, salience levels increased for four of the eight theatre activities, including “attend plays or musicals with professional actors,” as well as attending comedy clubs/poetry slams,” and story-telling. – In the visual arts, salience levels increased substantially for “visit art museums and galleries,” “go to arts or crafts fairs,” “make crafts of any kind,” and “paint, draw or make other original art.” – Salience levels jumped by almost 30% over 2008 levels for each of the four Internet-based activities.
• The overall picture that emerges is one of steady frequency levels for most attendance-based activities, but increased frequency levels for participatory forms of engagement, especially online activities. The significant attitudinal differences between 2008 and 2010 raise an interesting question: Why would Philadelphia residents ascribe higher levels of importance to a range of arts activities (especially during a recession), independent of their frequency of participating in those activities? © 2011 WolfBrown
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Key Themes and Observations (2010) • Of the 54 activities tested, the ten most prevalent are (as indicated by the percentage reporting any frequency in the past 12 months): 1) Read magazines or newspapers (93%); 2) Listen to music on a local radio station (93%), 3) Read books for pleasure (90%); 4) Watch programs about science or history on TV (86%), 5) Buy music for your own collection (75%), 6) Visit Philadelphia area historic sites or history and science museums (69%); 7) Read books or magazines about science or history (66%); 8) Watch TV shows about dance (64%), 9) Visit Philadelphia area zoos or aquariums (63%); and 10) Sing (62%). • Results illustrate the key role that print, broadcast, and electronic media play in the landscape of cultural engagement, particularly with respect to the high frequency of engagement via media. Between performances, concertgoers sustain and grow their interest in the art form by listening to recordings in their homes, cars and almost everywhere else they go. Results suggest further exploration of the interconnections between participation via media and attendance-based participation, and how the two modalities of engagement can reinforce each other more strongly. For example, how strong a bond might be forged between a public radio program about theatre, and a season of new plays by a cohort of small theatres? • Consistent with 2008, African Americans and Hispanics reported substantially higher levels of cultural engagement in most categories. In general, Hispanics, are, younger than whites (by 12 years, on average, within the sample), and this demographic shift most likely accounts for the high levels of engagement observed in this ethnic group, especially within the participatory and digital forms of cultural expression (e.g., “make up my own dance steps” and “remix material found online”). • Exploratory factor analysis was used to identify 12 naturally-grouped “activity clusters.” Each respondent was assigned a membership within each cluster based on strong associations with individual activities represented by the cluster. The 12 Activity Clusters are: – – – – – – – – – – – –
Arts Practice: Kinetic/Oral (10 activities: make up my own dance steps, dance socially, rehearse or perform theatre) Arts Practice: Narrative (6 activities - mostly writing) Arts Practice: Digital (4 activities- share something you created online, download music for your own collection, remix material you found online) Arts Practice: Visual Arts and Crafts (6 activities – paint, draw, make crafts, make videos, take photos with artistic intentions) Arts Practice: Music (3 activities- make up original tunes or compose music, play a musical instrument, take music lessons) Attendance: Art/Film (3 activities – visit art museum or art galleries, attend film festival, attend an art or craft fair) Attendance: Performing Arts (4 activities - Attend performances by dance companies, Attend plays or musicals with professional actors, attend comedy clubs, poetry slams, open mic nights) Attendance: History and Nature (3 activities – visit historic sites or history museums, visit zoos or aquariums, visit public gardens or arboretums) History, Science and Heritage (participatory and media-based) (5 activities - do gardening or landscaping for fun, prepare ethnic foods of your heritage) Reading (3 activities – read books for pleasure, read magazines or newspapers, visit a public library) Spiritual/Worship (both participatory and observational) (3 activities – Sing, see praise dancing, hear music performed as part of a worship service) Popular Media – consumption (3 activities – listen to music on a local radio station, watch dance or dance competitions on TV, Listen to Internet radio)
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Key Themes and Observations (2010) • On average, respondents belong to 3 activity clusters each. Hispanics on average belong to five clusters, whereas older adults (respondents 65+) typically belong to three or fewer. • While 12% of all respondents are not members of any cluster, another 18% belong to only one cluster, who are referred to later in the report as “exclusive members.” Exclusive members are similar demographically to the total respondent pool, except that they are more likely to be white (79% are white), and as expected, are less engaged in the range of activities as are those who belong to multiple clusters. The exclusive members are most likely to belong to Popular Media, Reading, and History, Science and Heritage clusters, suggesting that these activity clusters and the individual activities they represent, are potential entry points into the cultural system. • It is with entry points or “gateway” activities in mind, that an examination of the overlap and interconnections between activity clusters and individual activities was conducted. How can the Philadelphia arts community activate the population, tapping into the rich and pervasive creative engagement that currently exists in the population, to increase attendance, for example? Or support arts education? Several examples of potential “intersections” of activity clusters and individual activities are provided in order to stimulate conversation around program conceptualization and development and audience engagement. • The future health of the Philadelphia arts community depends on the capacity of its leaders, especially artists, to gain an holistic view of the cultural ecosystem, in order to identify opportunities for crossing boundaries and catalyzing new partnerships and programs that capture the imagination of the public and drive hundreds of thousands of Philadelphians to awaken their creative voices and take part. • The 12 activity clusters provide a multi-dimensional kaleidoscope for viewing the whole of the cultural ecology and seeing new possibilities for partnerships and program collaborations that will further enrich the ecology. • [Placeholder for headline about young families/to coordinate with Dennie Wolf] Results suggest that the presence of children in a household has a spillover effect on caregivers’ creative lives. Adults with children generally report higher levels of cultural engagement than those without children.
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Sound Bytes (2010) • 74% of area residents read books for pleasure at least once a month • 32% say that ‘attending concerts by professional musicians’ is a ‘very important’ activity, compared to 72% for ‘listening to music on a local radio station’ • Three-quarters of area residents are active at some level in acquiring music for their own collections • 19% of males reported that they ‘play a musical instrument’ at least once a month, compared to 11% of females; contrast this to the 59% of females and 48% of males who say that they ‘sing’ at least once a month • 38% indicate that ‘attend plays or musicals with professional actors’ is ‘very important’ • The most common forms of dance participation are ‘watching TV shows about dance or dance competitions’ (44% ‘very important’), followed by ‘social dancing at clubs or parties’ (28% ‘very important’) • ‘Writing for business purposes’ and ‘writing in a journal, diary or blog’ are the most common forms of creative expression through writing • ‘Make crafts of any kind’ is a significantly more prevalent activity than ‘paint, draw or make other original art’ (51% vs. 35% reporting any frequency, respectively) • Compared to whites, African Americans reported proportionately higher frequency and salience levels for many activities, especially those in the inventive and interpretive domains • Over half of area residents say that they ‘do gardening or landscaping for fun’ with any frequency, and about the same percentage say that they ‘prepare ethnic or traditional foods of your heritage’
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Methodology
© 2011 WolfBrown
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Methodology • The study focuses on the 20-mile radius geography around downtown Philadelphia, which encompasses all or parts of eight counties in Pennsylvania and New Jersey. To maximize comparability, data collection efforts were replicated from 2008. • The study employed a hybrid sampling approach. First, data was collected through two online consumer panel providers, Market Tools and Survey Sampling Inc. This sample was then analyzed for both geographic and demographic representation. Field researchers were then sent to areas where online response was low - principally lower-income areas and also upper income areas. – Intercept sites included public libraries, farmers markets, malls and other locations
• To assure geographical representation, quotas were established for both white and African American adults in each of the 202 ZIP Codes in the 20-mile area, by calculating the desired proportion of respondents within in each ZIP, based on a goal of 2,000 total responses. – For example, ZIP code 08021 (Clementon, in Camden County, NJ) has an estimated 2010 population of 45,847, of which 26% are African-American. The total quota for this ZIP was set at 22, with a sub-quota of 16 whites and 6 non-whites. Actual results for this ZIP code were 20 whites and 5 non-whites. – In 2008, quotas were met or exceeded in 86% of all ZIPs; in 2010, quotas were met or exceeded in 85% of all ZIPs. Of the 31 ZIPs where quota was missed, the number of completes was 238 against a quota of 291 (82% satisfied).
• The total number of responses for 2010 for the main CEI sample was 3,036, which compares to 2,864 completed surveys in 2008. The goal for both years was 2,000. A breakdown of data collection results appears on the next page. • Results were weighted to adjust for several sources of bias, including: – Bias from disproportionate response by ZIP code – Bias from disproportionate response by gender, age and educational attainment
• Detailed logs were created to allow for replication of the intercept work in the future. We are indebted to Lorraine Savage, our field research captain, and Alexis Pappas, Research Project Manager at the Cultural Alliance, as well as Mia Bromberg, Hazel Carrera, and Charles Dillard for their perseverance and determination in carrying out the substantial demands of the intercept work. We would also like to thank the following organizations for allowing us to administer surveys at their affiliated sites: Philadelphia Free Library, Burlington County Library System, Chester County Library System, Delaware County Library System, Gloucester County Library System, Collingswood Farmers Market, Food Trust, Pennsylvania Real Estate Investment Trust, and Taller Puertorriqueño. © 2011 WolfBrown
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Sampling Results Compared, 2008 vs. 2010 2008 Main Sample
%
2010 Main Sample
%
Intercept Data Collection
1250
44%
1077
35%
Online Data Collection (valid responses) MarketTools Panel Survey Sampling Int'l Panel
1614 1047 618
56%
1959 1154 805
65%
Total # of Completes (unweighted)
2864
3036
2008 Main Sample
%
2010 Main Sample
%
227 615
8% 21%
165 600
5% 20%
685
23%
Sampling Results, 2008 vs. 2010
2010 Sample Composition # of Hispanic/Latino respondents # of Black/African-American Respondents # of Parents/Caregivers who completed the supplementary ArtsRising module Five ArtsRising Zones: Baldi (ZIPs 19111, 19115, 19116) Beeber (ZIPs 19131, 19151, 19139) Grover Wash (ZIPs 19120, 19126, 19141) Harding (ZIPs 19124, 19137,19135) Stetson (ZIPs 19134, 19140, 19133) Total # of Completes (unweighted)
© 2011 WolfBrown
10 36 14 31 13 2864
2010 Hispanic Oversample 271
2010 ArtsRising OverSample 443
2010 Hispanic Oversample 252
2010 2010 Total ArtsRising Available Overfor Sample Analysis 75 492 600
95
363
1048
79 64 89 51 48
89 100 103 82 61
3036
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Questionnaire Design • Respondents were asked about their involvement in 59 different cultural activities, including: – – – – –
Music, dance, theatre and drama activities Reading and writing activities Visual arts and crafts activities History, science and nature activities (two new questions added for 2010) Participation in community cultural events
• Within each discipline, a cross-section of activities was queried to capture the full range of engagement, including inventive, interpretive, curatorial and observational modes of participation (see appendix). • The activity lists covered arts learning (e.g., taking lessons or classes), as well as several questions in reference to the arts learning activities of any children in the household under age 18. • Several general questions explored respondent’s overall values and beliefs about culture. • Five indicators of civic engagement were included (e.g., voting behavior), in order to examine the correlations between cultural and civic engagement. • The 2008 question about cultural role models was dropped from the protocol, as was the question about memberships in various type of groups or clubs (e.g., book clubs). • Three new questions were added to the 2010 questionnaire: 1) a question about the importance of creative and cultural activities; 2) a question about the respondents cultural values; and 3) a question to assess respondents’ visual, narrative, musical and kinesthetic intelligences • To allow for comparison and to facilitate weighting, respondents were asked to indicate their age, gender, marital status, educational attainment, occupational status and race/ethnicity. • The average completion time ranged from 10 to 12 minutes. Intercept respondents were provided with a $5 cash incentive to complete the survey. • A copy of the questionnaire may be found in the appendix.
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For each activity, both frequency and salience were measured. Four Frequency Cohorts On how frequently do youÉ Onaverage, average, how frequently do you…!
A. B. C. D. E. F. G. H.
Listen to music on a local radio station Buy music for your own collection Attend concerts by professional musicians (any style of music) Hear music performed as part of a worship service Sing Play a musical instrument Take music lessons or classes Make up original tunes or compose music
Never or Almost Never
At Least Once a Year
At Least Once a Month
Which of these activities, if any, are very important to you?
At Least Once a Week
! ! ! ! ! ! ! !
One Salience Indicator © 2011 WolfBrown
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How the CEI was Constructed • Nine categories of cultural engagement were defined, to encompass a broad range of activity, including both conventional and emerging forms of engagement (see next page). • In consultation with Cultural Alliance staff, weights were assigned to each of the nine categories in order that they total up to 100%. In this model, the majority of weight is given to audience-based activities (60%), with the balance given to personal practice (40%). Ultimately, these are arbitrary allocations. • Within the audience-based category, the proportions assigned to attendance at live performing arts events (10%), attendance at art museums and galleries (10%), and attendance at historic sites, or history and science museums (15%) approximate the actual proportion of attendance reported by a cross-section of institutions in these categories based on data from the Pennsylvania Cultural Data Project. • Since participation data is unavailable within the other categories, weights were assigned based on a consensus of the study team. For example, curatorial participation (e.g., downloading music) was felt to be an important but emerging mode of engagement, and thus was given a small weight (5% of the overall CEI). • Scores were assigned to the individual activities as follows: Frequency Score Salience Score (if Very Important ) – – – – –
If never or almost never 0 +20 If at least once a year +6 +20 If at least once a month +24 +15 If at least once a week +52 +10 The salience scores decline somewhat as frequency rises, to offset the presumed inter-relationship between frequency and salience (i.e., the more you do an activity, the more likely you are to ascribe importance to it). – For example, if a respondent reports having done an activity ‘at least once a month’ over the past year, 24 points would be added to the score for this activity. If the respondent indicated that this activity is “very important,” another 15 points would be added to the score. The minimum score is 0, and the maximum score is 62.
• Each of the nine categories of engagement is defined and profiled in this report, starting with the five audiencebased forms, followed by the four types of personal practice. Within each of the nine categories, some individual activities were given higher or lower weights so as to avoid skewing the indicator towards a particular discipline or form of engagement. These weights are reported in parentheses. Unless otherwise noted, no other weights were applied. © 2011 WolfBrown
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Nine Components of the CEI GREATER PHILADELPHIA CULTURAL ENGAGEMENT INDEX: NINE COMPONENTS
Personal Practice
9. Curatorial engagement 5%
8. Interpretive engagement 15%
7. Inventive engagement 10%
2. Visit art museums and art galleries 10%
3. Visit history and science museums 15%
6. Arts learning & skills acquisition 10% 5. Media-based consumption 10%
© 2011 WolfBrown
1. Attend live perf. arts programs 10%
Audience-Based 4. Attend community cultural events 15%
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Determining Differences between 2008 and 2010 *!"!#$
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© 2011 WolfBrown
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• The chart at left reports 2008 and 2010 results for a single activity: “attend plays or musicals with professional actors.” • Note that the overall index for this activity rose from 100 in 2008 (baseline) to 117 in 2010. • Recall that the index is a function of two measurements, frequency and salience. In this case, note that changes in frequency levels between 2008 and 2010 are small, while the increase in salience level (i.e., the percentage of respondents who marked this activity as being “very important” to them) increased substantially from 30% to 38%, a difference of 8 percentage points, but a gain of 21%, year-over-year. • This example illustrates how the index for an activity can increase based on salience alone.
16
What constitutes a “significant difference?”
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9/4'$&*"8:";/67<$&'"=4484";>448>&?$&'" ;/<$1&,1"8:"@48:1**$8&/<"A)1/(41B'8$&'" ,+#$ ,*#$ )(#$ )'#$ )&#$ )%#$ )"#$ ),#$ ))#$ )!#$ )+#$ )*#$ !(#$ !'#$ !&#$ !%#$ !"#$
-../0$ 12345607$28$ /0020$960:;4$ #$<=/07$ >9.20?64?<$ @2A/0$ 12345607$28$ /0020$960:;4$
2008
2010 Year
© 2011 WolfBrown
• The CEI methodology involves a hybrid data collection methodology that is not completely random. Therefore, margins of error are not technically applicable to this sample. However, substantial efforts have been made to achieve a sample that is both geographically and demographically representative of the Philadelphia area, and weights have been applied to reduce bias from under-representation or overrepresentation of geography, race, age, gender and educational attainment. • If this were a random sample study, the margins of error associated with each observation would be calculated and compared across the two years to determine significance. If the upper boundary of the 2008 error margin does not overlap with the lower boundary of the 2010 error margin, the two figures would be deemed to have a statistically significant difference, as with the figures at left. 17
Definition of Analysis Cohorts Used in this Report • Throughout this report, results are analyzed by several demographic and other subgroups, to illuminate key differences, as follows: – By three geographical areas: • The three areas are: 1) Philadelphia county, 2) suburban Philadelphia (all areas within the 20-mile radius but outside of Philadelphia county), and 3) all New Jersey areas within the 20-mile radius
– By gender • Given the large differences in patterns of cultural participation found in other studies, results are reported by gender.
– By race • Primarily, results are reported for whites and African Americans; the sample sizes for other ethnic groups, including Asians, Hispanics, Native Americans and individuals of mixed race did not allow for reporting of statistically stable results.
– By lifestage • Six lifestage groups were constructed for the purposes of identifying prospect groups for cultural organizations. Only respondents who attained some level of college education were included in these groups. As a result, there is an upward educational bias in these groups. • The six groups are: 1) young professionals without children (age 25-44, working full-time, no children); 2) young professionals with children (age 25-44, working full-time, with children); 3) mid-life, with children (age 45-64, with children); 4) mid-life, without children (age 45-64, without children); 5) retiree couples (age 65+, married, retired); 6) retiree singles (age 65+, retired, single or previously married). © 2011 WolfBrown
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Overall Results: 2008 vs. 2010
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The CEI went up by 11 points between 2008 and 2010
CEI Scores
The Big Picture: Doubling Cultural Engagement by 2020
© 2011 WolfBrown
200 190 180 170 160 150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0
Attend live performing arts programs
20
10 10 15 15
Media-based consumption
17
15 5
16 6
2008
2010
Attend community cultural events
18
16
10 12 12
28
Visit historic sites, history and science museums
30
11 12
10 10 10
20
Visit art museums and art galleries
20
Arts learning & skills acquisition
20
Inventive engagement
29
Interpretive engagement
10
2012
2014
2016
2018
2020
Curatorial engagement 20
CEI by Age Cohort, 2008 vs. 2010 COMPARISON OF CEI COMPONENTS BY AGE COHORT 140
Attend live performing arts programs
130
13
40 30 20
16 18
10 8
18 - 24
0
16 10 13
15 10 12
14 17 7
11 15 6
10
13
14
15
13
9
10
11
9
6 7
7 5
13
13
10
15 5
2008
© 2011 WolfBrown
10
3
3
18 9 10 18 14 19
17
19 10 14
10
11
11
12
19
Attend community cultural events
13
Media-based consumption
17
16
11
10
Arts learning & skills acquisition
8
9
8
7
15
14
14
5
4
3
15 16 10 9
14
9
8
18
Visit historic sites, history and science museums
12
9
20
12
6
17
65+
9
16
17
10
18
55 - 64
15
10
11
35 - 44
16
Visit art museums and art galleries
12
17
25 - 34
50
10
16
18 - 24
60
10
65+
70
10
12
14
55 - 64
80
14
17
10
45 - 54
90
9
12
35 - 44
CEI Scores
100
10
10 9
25 - 34
110
11
45 - 54
11
120
• Differences in cultural engagement between 2008 and 2010 were most pronounced amongst respondents under 44 years old, and particularly for young adults, ages 18-24.
Inventive engagement Interpretive engagement Curatorial engagement
2010
21
CEI by Age Cohort, 2008 vs. 2010 Continued Audience-Based
62
67
Personal Practice
70
66
55
61
62
63
67 57
18 - 24
© 2011 WolfBrown
25 - 34
64 57
35 - 44
45 - 54
33
28
33
2008
2010
30
2008
37
2010
38
2010
53
2008
44
2010
58
2008
51
2010
66
2008
54
2010
150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0
2008
CEI Score
COMPARISON OF CEI BY AGE COHORT
55 - 64
65+
• Overall, participatory activities (i.e., personal practice) are most prevalent in the youngest cohort of adults (18 to 24), and decline steadily with age. • Among adults under at 35, the majority of increase in the CEI from 2008 to 2010 is in participatory activities. • Note that respondents in the 45 to 54 year old cohort remained relatively flat in both audience-based and personal practice activity indexes, while gains were observed for the 35 to 44 age cohort for both audiencebased and personal practice activities. 22
CEI by Lifestage, 2008 vs. 2010 Attend live performing arts programs
14
Visit art museums and art galleries
15
17
19
17
14
10
17
9 7 11
11
14
14 6
16
17 5
15 4
Mid-Life, No Children
7
11
10 7 9
Mid-Life, with Children
13
13
12
2008
© 2011 WolfBrown
14 16 13 11 8 5 13 3
10 9
19
17
17
12 11 7 5 12 2
9 8 12
11 20 18
19
13
10
20
16
13
11
16
13
13
10 7 9
13
10
15 7
22 7
5
18
14 4
2010
16 17 17
10 6 7 11 3
10 9 7 14 3
Retiree Singles
16
19
15
11
Retiree Couples
19
23
14
Mid-Life, with Children
13
11
13
Young Prof., with Children
11
20
Mid-Life, No Children
12
13
Young Prof., No Children
13
Retiree Singles
13
13
Retiree Couples
10
11
Young Prof., with Children
160 150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0
Young Prof., No Children
CEI Scores
COMPARISON OF CEI COMPONENTS BY LIFESTAGE
Visit historic sites, history and science museums Attend community cultural events Media-based consumption Arts learning & skills acquisition Inventive engagement Interpretive engagement Curatorial engagement
• For the purposes of analysis, lifestage cohorts were created, primarily for the purpose of isolating a cohort of “young professionals.” These cohorts only include respondents with college degrees or higher. • As observed in 2008, family groups (respondents with children) reported higher levels of engagement across the board, and this trend dramatically increased in 2010. • In 2010, young couples with children surpassed mid-life couples with children (total CEI of 148 vs. 124). • Although an increase in engagement occurred across most lifestage cohorts, retiree couples reported a decrease of 8 points (86 vs. 93 in 2008). What might account for this drop in activity? Contrariwise, 2010 saw a16 point increase in CEI score amongst single retirees (109 vs. 84 in 2008). The sample sizes for these two cohorts are rather small (101 and 91, respectively), and thus are subject to a large amount of variability. 23
CEI by Caregiver Status, 2008 vs. 2010 COMPARISON OF CEI COMPONENTS BY CAREGIVER STATUS 140
Attend live performing arts programs
130 12
120 110
10
CEI Scores
100 90 80 70
10 10
17
10
11 11
17
14
10
15
50 40
10
14
10
30
8
20
12
18
Visit historic sites, history and science museums
20
Attend community cultural events Media-based consumption
10 17
15
8
9
Visit art museums and art galleries
14
14
60
12
10
17
14
20
10
14
0
5
6
5
6
NonCaregivers
Caregivers
NonCaregivers
Caregivers
2008
© 2011 WolfBrown
2010
Arts learning & skills acquisition Inventive engagement Interpretive engagement Curatorial engagement
• Caregivers are defined as respondents with children under 18. The chart at left compares CEI results for caregivers vs. non-caregivers, regardless of age or educational attainment. • Overall, caregivers (both in 2008 and in 2010) are more actively engaged than non-caregivers, by a wide margin. • While the overall CEI for noncaregivers increased by six percentage points between 2008 and 2010, the figure for caregivers rose by 17 points. • Across the nine domains, caregivers are especially more likely than non-caregivers to attend community cultural events, visit historic sites, history and science museums, and engage in inventive and interpretive activities. • Bear in mind that the figures for “arts learning & skills acquisition” include indicators of arts learning amongst respondents’ children, so, by definition, will be higher for caregivers. 24
CEI by Caregiver Status and Race (2010) COMPARISON OF CEI COMPONENTS BY CAREGIVER STATUS AND RACE 160 13
150 140 130 10
120 110
13
40 30 20 10 0
17
22
17
9
17
14
10
17
10
13 4
11 13
15
13
25 20 17
Visit historic sites, history and science museums Attend community cultural events
19
22
25
Arts learning & skills acquisition Inventive engagement
12
16 7
7
5
9
8
17
Visit art museums and art galleries
Media-based consumption
22
Non-Caregiver
© 2011 WolfBrown
10
11
14
10 6 8
26
Hispanic
50
21
18
Black or African-American
60
15
19
White
70
11
10
12
11
Hispanic
80
10
10
16
12
Black or African-American
90
White
CEI Scores
100
10
14
Attend live performing arts programs
• Results for caregivers by race (2010 only) show similar patterns to those observed for race overall (see below), with African-Americans and Hispanic caregivers reporting much higher CEI scores than white caregivers.
Interpretive engagement
Curatorial engagement
Caregiver
25
CEI by Caregiver Status and Level of Education (2010) COMPARISON OF CEI COMPONENTS BY CAREGIVER STATUS AND EDUCATION 150 140
13
130
10
110
17
14 18
12
30
8
17
16
10
10
10
9
8
8
8
10
11
11
10
10
11
11 18 15
15 14
20
20
20 10 14
16
Visit historic sites, history and science museums
21
Attend community cultural events
10
12
14
7
6
7
6
6
0
5
5
5
5
Bachelors Degree
5
14
Associates Degree
19
15
Some College
18
16
Caregiver
Media-based consumption
15
21
16
Visit art museums and art galleries
20
19
13
Non-Caregiver
17
22
15
21
10
© 2011 WolfBrown
21
10
High School or Less
9
17
17
18
18
Graduate or Professional Degree
10
15
15
11
Bachelors Degree
14
40 20
14
11
16
Associates Degree
50
9
12
12
16
Some College
60
9
12
12
High School or Less
70
11
11
12
13
Graduate or Professional Degree
CEI Scores
100 80
14
11
120
90
Attend live performing arts programs
Arts learning & skills acquisition Inventive engagement
• When looking at CEI scores by educational attainment, the differences between caregivers and non-caregiver is remarkable. • Among non-caregivers, CEI scores generally increase with educational attainment. • With caregivers, however, CEI scores do not follow the same pattern, and are highest for cohorts with more modest educational backgrounds. • Note especially that the differences between cultural engagement for caregivers vs. non-caregivers is highest for those with high school or less (40 points), followed by those with Associates Degrees (37 points).
Interpretive engagement
Curatorial engagement
26
CEI by Caregiver’s Age of Children, 2008 vs. 2010 COMPARISON OF CEI BY AGE OF CHILDREN (CAREGIVERS ONLY) 160
Audience-Based
Personal Practice
140 120 75
CEI Score
100 80
67 64
62
66
72
60 40 64 50
52
2010
52
2008
20
61
49
• Caregivers were asked a sub-set of questions, including the age of their children (multiple responses were allowed so that respondents could report ages for all children in the household). • The chart at left shows the comparison between 2008 and 2010 CEI scores by age of children. • Although all groups increased in 2010, caregivers with children between 6 and 12 rose most dramatically (23 points vs. 17 for those with younger children and 8 for respondents with older children). • One might infer from these findings that families with children in elementary school may need greater support or guidance in negotiating the landscape of opportunities for engaging in culture.
Under 6 years old © 2011 WolfBrown
2010
2008
2010
2008
0
6 to 12 years old
13 to 17 years old 27
CEI by Race/Ethnicity, 2008 vs. 2010 Attend live performing arts programs
12 11 14
10
12
15
15
15
17
14
11
10 8 9
13
14 4
17 6
5
15 10
2008
10
11
23
16
16 17 10
18
16
12
Attend community cultural events Media-based consumption Arts learning & skills acquisition
16
Inventive engagement
20
24
5
8
8
6
2010
Visit historic sites, history and science museums
12
Total Sample
14
20
12
Hispanic
15
25
Black or African-American
10
10 8 9
10
11
15
11
17
White
13
Total Sample
10
10
Black or African-American
9
9
10
Visit art museums and art galleries
18
10 12
White
CEI Scores
COMPARISON OF CEI COMPONENTS BY RACE 150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0
Interpretive engagement Curatorial engagement
• 2010 results showed the same pattern of engagement levels as was observed in 2008 between White and AfricanAmerican respondents: AfricanAmericans are much more culturally engaged than Whites (131 vs. 108, respectively). • Hispanic respondents reported the highest level of activity amongst the three groups (150). (The Hispanic sample is shown here for 2010 only because 2008 results were statistically unstable and inconclusive.) • Note the significantly higher scores in arts learning, interpretative, and attending community events. • The difference between Hispanics and other ethnicities may be attributed in part to the younger age skew of Hispanic respondents and the Hispanic population in general. According to figures from the U.S. Census American Community Survey, The median age for the nine county area by race/ethnicity is – White: 40 years old – African-American: 33 years old – Hispanic: 26 years old
© 2011 WolfBrown
• In the 2010 CEI data set, the median age of Hispanics is 13 years younger 28 than whites (unweighted).
CEI by Race/Ethnicity, 2008 vs. 2010 Continued
CEI Score
COMPARISON OF CEI BY RACE 150 140 130 120 110 100 90 80 70 60 50 40 30 20 10 0
Audience-Based
78 72 62
72 47
2010 Hispanic
© 2011 WolfBrown
Personal Practice
2008
58
62
36
37
2008
2010
59
2010
Black or African-American
White
• Both audience-based and personal practice activities are significantly higher for AfricanAmericans in comparison to White respondents. • The large increase in African American engagement between 2008 and 2010 was observed across most of our intercept sites, and in our online sample, as well, suggesting that this phenomenon is broad-based, and not the result of sampling irregularities. • While attendance-based activity out-paces personal practice activity for both Whites and African Americans, the equilibrium is different for Hispanics, who are proportionately more likely than African Americans and Whites to report personal practice activities.
29
Exploration of differences in performing arts attendance, by race/ethnicity Performing Arts Attendance: 2008 vs. 2010 Subcomponents
Attend performances by dance companies
216
220
201
200
Hear music at a worship service (.5)
105
133 116 113
120
105 114
106 102
120
126 121
137
140
Attend comedy clubs, poetry slams or open mic nights
167
160
143
173
188
180
96 93
83
99
88 96
87 88 86
100 80
40 White
AfricanAmerican 2008
© 2011 WolfBrown
Attend plays or musicals with professional actors Attend concerts by professional musicians
42
60 41
Index (2008 Baseline=100)
See praise dancing in a church (.5)
233
240
White
AfricanAmerican 2010
Hispanic
• Amongst the six performing arts activities tested in the survey, African Americans reported significant jumps in engagement in: – Attend live performances by dance companies (from 126 to 188) – Attend comedy clubs, poetry slams or open mic nights (from 121 to 173) – Attend plays or musicals with professional actors (from 88 to 116)
• White respondents reported an increase in engagement in “attend plays or musicals with professional actors” from 106 to 120.
– Recall from the earlier analysis that the driving force behind this increase is not frequency, but a higher level of salience attached to this activity.
• Note the high levels of engagement for Hispanics in “attend performances by dance companies” (201) and “see praise dancing in a church” (167). • What might explain the overall increase in “attend live performances by dance companies” across all respondents?
30
Drilling down even further: Differences in frequency and salience for African Americans and Hispanics, 2008 vs. 2010 2008 vs. 2010: "Attend Live Performances by Dance Companies" (African Americans and Hispanic) *!"#
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• Further investigation of one activity – “attend live performances by dance companies” – illustrates why the index for this activity jumped between 2008 and 2010 for African Americans. While there was a modest increase in the overall percentage of African Americans who do this activity at all, the small percentages who do this activity “at least once a month” and “at least once a week” increased significantly. – The index calculations are influenced a great deal by increases in frequency at the high end of the scale. Also, the salience score, while low overall, increased from 8% to 13%, which is a large gain, year-overyear. – Further analysis reveals a strong correlation between attendance at religious services and this activity.
• In 2010, Hispanics indexed somewhat higher for this activity compared to African Americans (201 vs. 188, respectively), which can be explained mostly by the higher percentage of Hispanics who do this activity “at least once a week” (10%). 31
Exploration of differences in community cultural events, by race/ethnicity Community Cultural Events: 2008 vs. 2010 Sub-components 277
280 260
Go to community ethnic or folk dances
240 220
220 200 198
Help to put on plays or shows (1.5) 176 170
180 160
Attend film festivals
107
133 128 124
120
124
140 112
Index (2008 Baseline=100)
240
88
73
97 89 71
80
77 74 83
100
Go to arts or crafts fairs
• Between 2008 and 2010, African Americans reported significant jumps in engagement in all four types of community arts activities, especially “go to community ethnic or folk dances,” illustrating the key role that community dances play in the cultural life of communities of color. • For whites, 2010 levels of engagement in these activities was very similar to 2008, with the exception of “going to arts and crafts fairs,” which increased by 12 points. • In 2010, Hispanic respondents were by far the most highly engaged in these activities.
60 2008
2010 White
© 2011 WolfBrown
2008
2010
2010
African-American
Hispanic
32
Exploration of differences in arts learning and skills acquisition, by race/ethnicity Arts Learning and Skills Acquisition: 2008 vs. 2010 Subcomponents 360 Take music lessons or classes
Take dance lessons
320
Take acting lessons
Take writing lessons
Take visual arts or crafts classes
Research or explore your family history
280 260
155 134 128
120
165
140
135
160
210
196
200 180
240
218
232
220
245
240
154 130 148 143 120 114
Index (2008 Baseline=100)
300
348
340
• African Americans reported significant increases in engagement in several of the learning activities in this domain, especially “take acting lessons” and “take writing lessons.” What might explain these increases? • Engagement levels for taking acting lessons is even higher among Hispanic respondents (348). They are also much more likely to be engaged in “taking music lessons” (245) and other forms of arts learning.
60
74 72 74 62 84 86
67 82 92
56
80
71 83
100
40 2008
2010 White
© 2011 WolfBrown
2008
2010
2010
African-American
Hispanic
33
A closer look at engagement in “take acting lessons” 2008 vs. 2010: "Take Acting Lessons" (African Americans and Hispanic) %!!"!#$
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• Further analysis of African American engagement in acting lessons illustrates that most do not do this activity at all (87% “never or almost never” did this activity in the past year. However, of those who did, frequency levels increased, as did salience levels. – While the index for an activity may rise sharply on a year-over-year basis, it does not indicate the absolute prevalence of the activity, which in this case is quite low.
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34
Rates of participation in specific community events, 2008 vs. 2010 Community Cultural Events: 2008 vs. 2010 Sub-components 80%
Index (2008 Baseline=100)
70% 60% 50% 40% 30% 20% 10% 0% 2010
2008 White
2010
2008
2010
African American
A special religious or holiday service (+10 points) A parade or festival that celebrates your cultural heritage (+10 points) Black History month (+5 points) Chinese New Year (+5 points) Cinco de Mayo celebration (+5 points) New Year's Day parade (e.g., Mummer's parade) (+5 points) Independence Day parades (+5 points) Odunde Day (+5 points)
© 2011 WolfBrown
2008 Hispanic
• Only minor differences between 2008 and 2010 were observed in rates of participation for specific community events tested in the survey. • Note the high rates of participation in Black History month activities among African Americans (50% to 58%). • Hispanics were much more likely than other ethnic groups to report attendance at “a parade that celebrates your cultural heritage.” • Still, religious celebrations are the most prevalent activity across the eight activities tested.
35
Exploration of differences in inventive engagement, by race/ethnicity Inventive Engagement: 2008 vs. 2010 Sub-components
179 182
114
138
120 108 101
132 116
127 125
103 125
101 102 110
120
113
146 149
140
176
190 175 171 165 156 150 143
160
93
98 92 90 78
92
72 81 94 94
78 70 79 77
77 78 96 80 85 94
80
75
100 63
Index (2008 Baseline=100)
180
196
206
200
145
220
198
234 231
240
60 2008
2010 White
2008
2010
2010
African-American
Hispanic
Make up own dance steps (2.0)
Make up original tunes or compose music (2.0)
Make original videos or films (.5)
Write drama, fiction or short stories (2.0)
Share something online that you created yourself
Write original poetry
Write about your life in a journal, diary or blog
Paint, draw or make other original art
Write for business purposes
Take photographs with artistic intentions (.5)
• From 2008 to 2010, African Americans reported significant jumps in engagement in most of the inventive activities. What might explain these increases? • Hispanics reported significantly higher levels of engagement in “make up original tunes or compose music” and “make up your own dance steps.” What kinds of programs or initiatives could tap into this existing vein of practice?
Make crafts of any kind
© 2011 WolfBrown
36
Exploration of differences in interpretive engagement, by race/ethnicity
Index (2008 Baseline=100)
Interpretive Engagement: 2008 vs. 2010 Sub-components 340 320 300 280 260 240 220 200 180 160 140 120 100 80 60 40 2008
2010 White
2008
2010
2010
African-American
Hispanic
Read out loud or perform poetry/rap
Participate in pageants or theatrical programs in places/worship
Rehearse and perform in plays or musicals (not at church)
Act out stories or scenes at home or at a friends house (.5)
Perform dances as part of a group
Dance socially at night clubs or parties
Sing
Prepare ethnic or traditional foods of your heritage
Tell stories in the oral tradition of story telling (.5)
Design, embroider or sew clothing
Play a musical instrument
Do gardening or landscaping for fun
© 2011 WolfBrown
• African Americans reported significant jumps in engagement in several forms of interpretive participation, especially social dancing, performing dance, and participating in theatrical pageants. • Conversely, similar or lower levels of engagement were observed among African Americans for gardening and preparing ethnic foods. • Hispanics were most highly engaged in “participate in pageants,” “read out loud or perform poetry/ rap,” and “rehearse and perform in plays and or musicals.” 37
Exploration of differences in curatorial engagement, by race/ethnicity Curatorial Engagement: 2008 vs. 2010 Sub-components 300
288
280
Buy music for your own collection
240 220 Download music from the Internet
214
200
113
109
120
111 108 139
140
130
167
160
163
180
79
80
84
100
95 90 68
Index (2008 Baseline=100)
260
Take material you find online and remix it into your own creation
• African Americans reported significant jumps in all three forms of curatorial engagement, especially “take material you find online and remix it into your own creation” (from 139 to 214). The overall prevalence of this activity, however, is much lower than the other two activities. • Hispanics reported the highest in online curatorial engagement (i.e., 288 for remixing things found online), perhaps a reflection of their younger average age.
60 40 2008
2010 White
© 2011 WolfBrown
2008
2010
2010
African-American
Hispanic
38
Results by Discipline
© 2011 WolfBrown
39
Frequency and Salience Comparisons: Music 50 2008
45
2010
40 35 30 25 20
• The graphs on this page (and the pages that follow) report average frequency and average salience scores by discipline, for those who wish to approach the CEI findings through a disciplinary lens. • Among music activities, “listen to the radio” dominates, both in terms of frequency and salience, as was the case in 2008, once again illustrating the critical role played by the media in the music ecology. • Significant increases for both frequency and salience were observed for “sing.” • It is interesting to note that “buy music for my own collection is as salient an activity as “attend concerts by professional musicians.”
15
Salience of Music Activities
10 80%
6% 7%
12% 11%
10%
5% 5%
25% 28%
20%
24% 25%
30%
Make up tunes or arrange music
*Significant Difference
Take music lessons
Sing*
Hear music as part of worship service
0%
Play a musical instrument
© 2011 WolfBrown
40% 30% 32%
*Significant Difference
2010
50%
Attend concerts by prof'l musicians
Hear music Buy music Attend Play Make up Take music as part of for professional musical tunes or lessons worship collection concerts instrument* compose* service
2008
34% 35%
Sing*
60%
Buy music for your collection
Listen to music on a local radio station
70%
67% 72%
0
Listen to music on the radio*
5
% Respondents Reporting Activity is Important
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Music Activities
40
Frequency and Salience Comparisons: Dance 25
2008
• “Watch TV shows about dance or dance competitions” remains the dominant mode of dance engagement across the eight dance activities. While frequency levels remained constant for this activity, its salience increased significantly, from 33% to 44%. • Salience levels for “Dance socially at night clubs or parties” also rose significantly, from 20% to 28%. • The overall picture is one of growing interest in dance, most likely buoyed by the reality television shows, although this does not appear to be driving significant increases in attendance at professional dance presentations.
2010
20 15 10 5
45%
2008
45%
40%
2010
28%
25%
5%
4%
6%
6%
9%
7%
9%
Make up my own dance steps*
5%
9%
13%
10%
11%
15%
10%
20%
20%
12%
30%
33%
35%
*Significant Difference
41
Perform dances as part of a group
Take dance lessons
Go to community ethnic or *folk dances
See praise dancing in a church
Dance *socially
0% Watch dance on TV*
% Respondents Reporting Activity is Important
Take dance lessons (any style of dance)
Perform dances as part of a group
Go to community ethnic or folk dances
Attend performances by dance companies
See praise dancing in a church
*Significant Difference
Salience of Dance Activities 50%
Attend performances by dance companies*
© 2011 WolfBrown
Make up my own dance steps
Dance socially at night clubs or parties
0 Watch dance on TV
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Dance Activities
Frequency and Salience Comparisons: Theatre and Performance • Frequency levels for theatre and performance activities rose across the board in 2010, and salience increased for four out of the eight activities. The largest gain in average frequency was observed for “tell stories in the oral tradition of storytelling” and for “act out stories or plays at home.” While these activities are generally outside the work of nonprofit theatres, one wonders how they might be supported, if they are growing in frequency and salience. • A significant jump in salience (from 30% to 38%) was observed for “attend plays or musicals with professional actors” – suggesting that Philadelphia residents attach more importance to this activity in 2010, even if their frequency of attendance has not increased significantly.
7
2008
2010
6 5 4 3 2 1
2008
40%
2010
38%
35% 30%
28%
25%
30%
15%
4%
3%
5%
4%
5%
4%
8%
7%
6%
5%
9%
13%
10%
17%
19%
20%
42
Take acting lessons
Participate in pageants
*Significant Difference
Rehearse and perform in plays or musicals
Act out stories or scenes at home/ friends' house
Help to put on plays or shows*
Tell stories *
0% Attend comedy clubs poetry slams or open mic nights*
% Respondents Reporting Activity is Important
Take acting lessons*
Salience of Theatre and Performance Activities 45%
Attend plays or musicals w/ prof'l actors*
© 2011 WolfBrown
Help to put on plays or shows but not act in them
*Significant Difference
Participate in pageants*
Rehearse and perform in plays or musicals
Act out stories or scenes at home/ friends' house
Attend comedy clubs poetry slams or open mic nights
Tell stories
0 Attend plays or musicals w/ prof'l actors
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Theatre and Performance Activities
Frequency and Salience Comparisons: Reading and Writing • Between 2008 and 2009, engagement levels in reading and writing did not change much. In fact, no significant differences were observed for any of the nine reading and writing activities, either for frequency or salience, except for an uptick in salience levels for “read magazines or newspapers” (from 63% to 67%). • The dominant activities remain “read magazines or newspapers” and “read books for pleasure.”
50
2008
45
2010
40 35 30 25 20 15 10 5
80% 2008
60% 50%
2010
59% 61%
70% 63% 67%
40% 35% 34%
30%
7% 7%
4% 5%
Write drama, fiction or short stories
Read out loud or perform poetry or rap
5% 5%
9% 9%
Write original poetry
10%
10% 11%
14% 15%
20%
*Significant Difference
43
Take writing lessons or classes
Write for business purposes
Write about life in a journal or blog
Visit a public library
0% Read books for pleasure
% Respondents Reporting Activity is Important
Read out loud or perform poetry or rap
Salience of Reading and Writing Activities
Read magazines or newspapers*
© 2011 WolfBrown
Take writing lessons or classes
*Significant Difference
Write drama, fiction or short stories
Write original poetry
Write about life in a journal or blog
Write for business purposes
Visit a public library
Read books for pleasure
0
Read magazines or newspapers
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Reading and Writing Activities
Frequency and Salience Comparisons: Visual Arts and Crafts • Growth in both frequency and salience was observed for a range of visual arts and crafts activities. “Make crafts of any kind” is still the most prevalent activity in this domain, and is increasing in salience (from 21% to 28%). • While overall frequency levels for “visit art museums or art galleries” are lower than frequency levels for several art- and craftmaking activities, the salience ascribed to museum-going is higher, as was the case in 2008, and increased significantly (from 31% to 38% “very important”).
12
2008
2010
10 8 6 4 2
Salience of Arts and Crafts Activities 45%
32%
6% 5%
6% 8%
10% 11%
5%
Design, embroider or sew clothing
13%
10%
9% 11%
15%
Attend film festivals
21%
20%
16%
25%
28%
25%
16% 19%
30%
2010
38%
35% 31%
*Significant Difference
44
Take visual arts or crafts classes
Make original videos or films
Paint, draw or make other original art*
Take photographs with artistic intentions
Make crafts of any kind*
0% Go to arts or crafts fairs*
Take visual arts or crafts classes
Attend film festivals
2008
40%
Visit art museums or art galleries*
© 2011 WolfBrown
% Respondents Reporting Activity is Important
*Significant Difference
Make original videos or films
Design, embroider or sew clothing
Visit art museums or art galleries
Go to arts or crafts fairs
Take photographs with artistic intentions*
Paint, draw or make other original art
0
Make crafts of any kind*
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Arts and Crafts Activities
Frequency and Salience Comparisons: History and Science • Differences between the various history, science and nature activities between 2008 and 2010 are minimal. • The most salient activity, by a wide margin, is “watch history or science shows on TV,” illustrating the important role that the media plays in this domain. • A modest but significant increase in frequency of “prepare ethnic or traditional foods of your heritage” was observed. • Two new questions were added to this domain for 2010, as illustrated in the charts on this page.
35 2008
2010
30 25 20 15 10 5
Salience of History and Science Activities
40%
2010
45%
2008
45% 44%
19%
23%
28%
26%
23%
20%
27%
25%
30%
25%
28%
30%
32%
34%
35%
30%
Visit local public gardens and arboretums (2010 only)
Visit local zoos and aquariums (2010 only)
50% % Respondents Reporting Activity is Important
*Significant Difference
Research family history
Visit historic sites or history/science museums
Read about history or science
Do gardening or landscaping
Prepare traditional foods*
0 Watch history or science shows on TV
15% 10% 5%
Visit local public gardens and arboretums (2010 only)
Research family history
*Significant Difference
Read about history or science
Prepare traditional foods
Do gardening or landscaping
Visit local zoos and aquariums (2010 only)
© 2011 WolfBrown
Visit historic sites or history/science museums*
0% Watch history or science shows on TV
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of History and Science Activities
45
Frequency and Salience Comparison: Online Activities • Very significant year-over-year gains in frequency and salience were observed for all four online activities, especially “listen to Internet radio (streaming audio),” which jumped from 24% to 38% in salience. • Results clearly illustrate the growing role that online creative activities play in the lives of Philadelphia area adults. What programs and activities support their creativity online?
18
2008
2010
16 14 12 10 8 6
Salience of Online Activities
4
35% 30%
27%
25% 20% 15%
10%
10% 5%
7%
*Significant Difference
Take material you found online, remix and share with others*
18%
Share something online that you created*
33%
Download music online*
0% Listen to Internet radio*
© 2011 WolfBrown
2010
22%
Listen to Internet radio*
2008 38%
0
40%
24%
2
% Respondents Reporting Activity is Important
Frequency Score (Minimum=0; Maximum=52)
Average Frequency of Online Activities
Download music online*
Share something Take material you online that you found online, remix created* and 46 share with others*
*Significant Difference
Additional Findings
© 2011 WolfBrown
47
The overall directionality of cultural engagement is consistent from 2008 to 2010 • Overall, Philadelphians say that they are doing creative and cultural activities as often as they were in 2008, with a skew towards doing activities “not as often.”
COMPARED TO A YEAR AGO, WOULD YOU SAY YOU ARE DOING CREATIVE AND CULTURAL ACTIVITIES......?
46%
48%
23% 2010 - White
47%
63% 24% 2008 - White
66%
60% 27% 2010 Sample
58% 27%
50%
2008 Sample
70% 60%
23%
33%
80%
11%
Not as often
19%
20%
11%
The same as before 13%
90%
14%
100%
15%
More often
40%
32% 2010 - African American
31%
33%
10%
2008 - African American
20%
56%
30%
© 2011 WolfBrown
2010 - Hispanic
2008 -Hispanic/Other
0%
– While there is a perception of declining frequency amongst 25% to 30% of all respondents, it was not observed in the frequencies reported for the various CEI activities.
• African Americans and Whites were consistent from 2008 to 2010 in reporting they do these activities “more often” (roughly 10% to 15%). • Note that the 2010 results for Hispanics reflect a larger sample size (including booster sampling at Hispanic sites) and are therefore more stable than the 2008 results, which should be interpreted with caution.
48
As with 2008, civic engagement in 2010 correlates closely with cultural engagement TOPLINE RESULTS FOR FIVE INDICATORS OF CIVIC ENGAGEMENT: 2008 vs. 2010
84%
80%
75%
70%
20%
36%
30%
36%
41%
40%
38%
50%
57%
60% 56%
% of Total Sample
2010
78%
2008
90%
84%
100%
• Overall levels of participation in the five civic engagement indicators investigated in the survey did not change much between 2008 and 2010 (see chart at left). • Similar to 2008, results for civic engagement were cross-tabulated with the CEI scores to illustrate the close correlation between between the two (see chart below). For example, those who report being involved in three of the five civic activities reported twice the level of cultural engagement as those who are involved in none. While the analysis does not prove causality, it does suggest that civic engagement outcomes can be achieved through cultural programs.
10% 0% Socialize with Neighbors
Attend Religious Services
Do Volunteer Anyone in Voted in Past Work Family Has a Yr. Library Card
2010 CEI RESULTS BY CIVIC ENGAGEMENT SCORE (0-5) 220
Attend live performing arts programs
200
22
180 160 140
15
120
15
100 80 60 40 20
© 2011 WolfBrown
0
6 6 8 8 8 7 8 9 5
Civic Score =0
9 11 5
9 10 12 12 9 10 10 11 5
1
2
7 8 10 11 8 10
12 12
21
18
23
26
Visit historic sites, history and science museums
38
Attend community cultural events Media-based consumption
12
18
10
10 15
21
12
19
Visit art museums and art galleries
32 22
15 28
15 6
19 6
8
3
4
Civic Score =5
Arts learning & skills acquisition Inventive engagement Interpretive engagement Curatorial engagement 49
Importance of Creative and Cultural Activities "How important a role do creative and cultural activities play in improving the quality of life of Philadelphia area residents?" Not at all important
Somewhat important
Very important
Extremely important
100% 90%
20%
18%
24%
% of Total Sample
80% 70% 60%
37%
20%
36%
39%
39%
50%
19%
32%
33%
41%
40% 30%
34%
37%
20% 10% 0%
33%
30%
36%
19% 9%
9%
2010
White
© 2011 WolfBrown
8%
8%
African Hispanic American
8%
11%
Female
Male
• An attitudinal question was added to the 2010 protocol, asking respondents, “How important a role do creative and cultural activities play in improving the quality of life of Philadelphia area residents?” • The chart at left illustrate results for the total sample, and also by race and by gender. • Overall, 57% of all respondents feel that creative and cultural activities play a “very important” or “extremely important” role in determining quality of life. • Hispanics are more likely than whites and African-Americans to consider creative and cultural activities as “extremely important” to quality of life (32% vs. 18% and 24%, respectively). • Women were also slightly more likely than men to find cultural activities “very important” or “extremely important” (59% vs. 52%, respectively). • Very few respondents feel that these activities are not at all important to quality of life (9%).
50
Value Associations – By Race/Ethnicity
6 5 4 3
White Black or African-American
2
Hispanic
© 2011 WolfBrown
Discovering new artists and new works of art
Feeling the extremities of emotion through art
Voicing your political views
Adopting new technologies as quickly as possible
Being involved in social or environmental causes
Developing your creativity
Making new friends and expanding your social network
Having a spiritual life
1 Strengthening family relationships
Avg. Rating (1=Not At All Important; 7=Very Important)
Value Associations by Race 7
• The 2010 protocol included a section of questions asking respondents how closely they associate themselves with different values such as “having a spiritual life.” These questions were included primarily to aid in the segmentation analysis, but topline results are reported here. • The chart at left reports results by race. • Across the nine items, “strengthening family relationships” is the most important value across the entire sample, on average. • African-Americans and Hispanics/other/ mixed race respondents are significantly more likely to value “having a spiritual life” than white respondents. • Note that African-American and Hispanic respondents rated all values higher, on average, than white respondents.
51
Value Associations – By Lifestage Avg. Rating (1=Not At All Important; 7=Very Important)
Value Associations by Lifestage 7
Developing your creativity Discovering new artists and new works of art
6
Having a spiritual life Feeling the extremities of emotion through art
5
Adopting new technologies as quickly as possible 4
Strengthening family relationships Making new friends and expanding your social network
3
Being involved in social or environmental causes Voicing your political views
2 Young Young Mid-Life, Mid-Life, Retiree Prof., No Prof., with with No Children Couples Children Children Children
© 2011 WolfBrown
Retiree Singles
• The chart at left reports value associations by lifestage. As might be expected, the importance of “strengthening family relationships” is highest for those with children. • The importance ascribed to “having a spiritual life” also increases dramatically with family groups, as does “developing your creativity.” This is consistent with other findings pointing to higher levels of participatory engagement amongst parents with children. • Retiree singles are most likely to find “voicing your political views” as very important, as well as “making new friends.” – How can older adults s be engaged in socially-oriented creative activities?
52
Value Associations by Gender 7
Female
Male
6 5 4 3 2
© 2011 WolfBrown
Discovering new artists and new works of art
Feeling the extremities of emotion through art
Adopting new technologies as quickly as possible
Voicing your political views
Being involved in social or environmental causes
Developing your creativity
Having a spiritual life
Making new friends and expanding your social network
1
Strengthening family relationships
Avg. Rating (1=Not At All Important; 7=Very Important)
Value Associations – By Gender • Comparison of value associations by gender show only slight differences between men and women. • Overall, women associate more strongly with most of values, but are most likely value family relationships and making friends (strong, statistically significant relationships) • Men are slightly more likely then women to connect with “voicing your political views” and “adopting new technologies.” These differences are statistically significant, but weak in terms of explanatory power (i.e., effect size).
53
Self-Described Intelligences – By Race
Avg. Rating (1=Not At All; 7=Very Much)
Multiple Intelligences by Race "How well does each of the following statements describe you...?" White
7
Black or African-American
Hispanic
• Respondents were asked to indicate how well each of four statements describes them. The statements each relate to a different “intelligence,” drawing on Harvard professor Howard Gardner’s theory of multiple intelligences: – Visual-Spatial Intelligence (“art smart” or “picture smart”) – Verbal-Linguistic Intelligence (“word smart” or “book smart”) – Musical-Rhythmic Intelligence (“music smart” or “sound smart”) – Bodily-Kinesthetic Intelligence ("body smart" or "movement smart")
6
5
4
3
2
1 I pay attention to color and texture, and love to visualize things in my mind
© 2011 WolfBrown
I am very good at writing and speaking persuasively
I am a musical person with a good ear for harmony and melody
I am well coordinated and like to dance in front of other people
• Here we observe higher self-reported intelligences across the board for African Americans and Hispanics, compared to whites. • Correlations between the four items range from .4 to .5 (all positive), and a factor analysis suggests that they largely measure the same thing. However, we do find strong, statistically significant relationships between certain intelligences (e.g., musical-rhythmic) and certain activities (e.g., sing, play a musical instrument).
54
A New Perspective on Cultural Engagement: Activity Clusters
© 2011 WolfBrown
55
Moving from the 9 CEI domains to 12 Activity Clusters • Originally, the CEI was constructed in nine groupings of activities corresponding to different modalities of engagement (e.g., inventive, interpretive, curatorial, observational). While this theoretical framework makes intuitive sense and provides a useful means of analyzing and reporting the data, it does not necessarily reflect the reality or complexity of cultural participation. Can a better, more “natural” model of cultural participation be generated through further analysis of the 2010 data? Can we identify underlying groupings of cultural activities that would provide us with a better kaleidoscope through which to view the ecology of cultural participation? • To explore this question, a series of exploratory factor analyses was conducted on the 54 creative activities included in the CEI protocol. Factor analysis is a statistical procedure designed to reduce complexity and identify natural “factors” or groupings of variables (i.e., which variables “stick together”). • Initially, nine factors or “clusters of activities” were discovered. However, in order to provide a more nuanced understanding of large clusters of activities, additional factor analyses were run to further break down arts practice variables (e.g., “take acting lessons”) and attendance variables (e.g., “visit art museums or galleries”), which yielded interesting and intuitive results. • In the end, the analysis led us to define a total of 12 activity clusters, which are examined over the pages that follow. These 12 activity clusters have an advantage over the nine domains used in the prior CEI analysis: they are no longer theoretical, but empirical, and they lend themselves to further thinking about overlap and cross-fertilization. • As a post-script, it should be noted that a significant but unproductive effort was made to identify discreet clusters of respondents utilizing a cluster analysis methodology, as we have used in numerous other studies of arts audiences. The cluster analysis yielded groupings of respondents that were either high on all activities, or low on all activities – not interesting or useful. Therefore, we abandoned efforts to classify respondents into a single segment – preferring instead a model allows for overlap, which in any case recognizes the true complexity of cultural participation (i.e., that the same individual might participate in dissimilar activities, and therefore defy categorization). © 2011 WolfBrown
56
12 Activity Clusters • The following 12 pages describe each activity cluster, and list the individual activities that make up each cluster. There are five arts practice clusters, three attendance clusters, and four other clusters, including media-based activity. • These activity clusters are consistent with results from our analysis of the 2008 SPPA, which identified three overarching modalities of arts participation: attendance-based, arts creation and performance, and media-based. • A quick summary follows: – – – – – – – – – – – –
Arts Practice: Kinetic/Oral (10 activities) Arts Practice: Narrative (6) Arts Practice: Digital (4) Arts Practice: Visual Arts and Crafts (6) Arts Practice: Music (3) Attendance: Art/Film (3) Attendance: Performing Arts (4) Attendance: History and Nature (3) History, Science and Heritage (participatory and media-based) (5) Reading (3) Spiritual/Worship (both participatory and observational) (3) Popular Media – consumption (3)
© 2011 WolfBrown
57
Arts Practice: Kinetic/Oral Activity Cluster
Go to community/ ethnic dances
Perform dances in front of a group
Make up my own dance steps Tell stories
Dance Socially
Act out stories
Rehearse or perform plays/ musicals
Take dance lessons
Take acting classes
© 2011 WolfBrown
Kinetic/ Oral Activity Cluster
Help put on plays/ musicals
• The 10 activities in this cluster are characterized by their focus on movement and various forms of theatrical/oral expression, encompassing dance, theatre and story-telling.
Arts Practice: Narrative Activity Cluster Write original poetry
Write for business purposes
Read poetry/ rap/spoken word out loud
Take writing classes
© 2011 WolfBrown
Write about your life in diary/ journal/blog
Narrative Activity Cluster
• The narrative arts practice cluster includes primarily writing activities of all sorts. This cluster is highly correlated with the kinetic/oral cluster.
Write drama, fiction, or short stories
59
Arts Practice: Digital Activity Cluster
Download music from the internet
Buy music for your own collection
© 2011 WolfBrown
Share something you created online
Digital Activity Cluster
Remix material you found online
• The four online/ digital activities naturally group together, and focus on curatorial endeavors (i.e., selecting, organizing, editing).
60
Arts Practice: Visual Arts and Crafts Activity Cluster
Make crafts
Paint, draw or make other original art
Make original videos or films
Take visual arts/crafts classes
© 2011 WolfBrown
• A natural grouping of six visual art and crafts activities emerged. Design, embroider or sew clothing
Visual Arts Activity Cluster
Take photos with artistic intentions
61
Arts Practice: Music Activity Cluster Play a musical instrument Make up original tunes or compose music
Take music lessons
• Three music practice activities group together. It is interesting that these activities do not cluster with kinetic/oral or narrative.
Music Activity Cluster
© 2011 WolfBrown
62
Attendance: Art/Film Visit art museums or galleries Go to arts and crafts fairs
Attend film festivals
• The first attendance-based cluster encompasses visual arts, crafts and film festival attendance.
Art/Film Attendance Activity Cluster
© 2011 WolfBrown
63
Attendance: Performing Arts
Attend concerts by prof’l musicians
Attend comedy clubs, poetry slams, open mic nights
© 2011 WolfBrown
Attend performances by dance companies
Performing Arts Activity Cluster
Attend plays or musicals with prof’l actors
• All four live performancebased attendance activities group naturally into one cluster, although this cluster does not include worship-based attendance activities (see below). • Note that “attend concerts by professional musicians” spans everything from classical music to hip hop.
64
Attendance: History and Nature
Visit area public gardens or arboretums
Visit area historic sites or history museums
History and Nature Activity Cluster
© 2011 WolfBrown
Visit area zoos or aquariums
• Three activities representing visitation at key Philadelphia area cultural “attractions” or “destinations” group together.
65
History, Science and Heritage (Participatory) Activity Cluster
Read books/ magazines about history or science
Do gardening or landscaping for fun
© 2011 WolfBrown
Watch programs about history/science on TV
History, Science, and Heritage Activity Cluster
Prepare ethnic/ traditional foods of your heritage
Research or explore your family history
• Activities in this cluster correspond to other non-attendance based history, science and nature activities (e.g., gardening), as well as media consumption of history and science, and heritage-based activities (explore your family history). • It is interesting that the two media activities cluster here.
66
Reading Activity Cluster
Read books for pleasure Read magazines or newspaper
Visit a public library
• This cluster embraces reading activities, including visiting a public library, all of which are quite pervasive. • Note that these activities do not cluster with the writing/ narrative activities.
Reading Activity Cluster
© 2011 WolfBrown
67
Spiritual/Worship Activity Cluster
Sing Hear music performed as part of worship service
See praise dancing in a church
Spiritual/ Worship Activity Cluster
© 2011 WolfBrown
• This cluster includes all activities that take place primarily in places of worship. • Note that one personal practice activity (“sing”) is included in this cluster given its strong correlation with the other two activities, suggesting that a large share of “singing” takes place in a religious context.
68
Popular Media Activity Cluster Listen to music on a local radio station (i.e., terrestrial radio) Listen to Internet Radio
Watch dance or dance competitions on TV.
• The 12th and final activity cluster includes three media consumption activities, all of which are very prevalent in the sample.
Popular Media Activity Cluster
© 2011 WolfBrown
69
Prevalence of Audience-Based Activity Clusters =%/%>.?@#)!"#$%#&'()+*")D%E4#&'#FG.5#E)D'?@40()=>%50#"5)
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© 2011 WolfBrown
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• An initial analysis of each activity cluster was performed in order to understand its prevalence amongst respondents. In other words, “How many people are engaged at all in the cluster, and with what frequency?” Results for seven of the audience-based activity clusters are illustrated in the chart at left. Here we can see the relative concentration of activity in each cluster, and across clusters. • For example, consider the light red line at the lower right-hand corner of the graph, representing art/film attendance (including art museums, film festivals, and arts and crafts fairs). This line bisects the horizontal axis at 28% (not visible), meaning that 28% of all respondents did not cite any frequency of engagement in this cluster. Many respondents reported only minimal activity in this cluster, but as the line curves up, it is apparent that a small percentage of respondents accounts for a disproportionate amount of activity in this cluster. • In contrast, the dark blue and purple lines illustrate the high prevalence of the reading and popular media activity clusters. • The dark green line (history, science and heritage) reaches the highest point on the vertical scale, suggesting the highest frequency level. 70
Prevalence of Personal Practice Activity Clusters Frequency Distributions for Activity Clusters: Arts Practice Frequency of Engagement (# of Times/Past 12 Mo.)
360 340 320
Cum %-Kinetic/Oral
300
Cum %-Narrative
280
Cum %-Digital
260 240
Cum %-Visual
220
Cum %-Musical
200 180 160 140 120 100 80 60 40 20 0 0%
10%
20%
30%
40%
50%
Cumulative % of Sample
© 2011 WolfBrown
60%
70%
80%
90%
100%
• Similarly, the graph at left illustrates prevalence results for the five personal practice activity clusters. • Note the very steep curves at the right-hand side, suggesting a high concentration of activity in a small number of respondents. • Of the five clusters, the digital engagement cluster reaches the widest array of residents (only 19% report no activity at all in this cluster), suggesting a broad level of accessibility in this cluster. • Contrast this to the music cluster, for which 72% of respondents reported no activity at all (includes: sing, play a musical instrument, compose music). 71
Identifying Membership: The 66% Threshold
Cumulative % of Sample/Total Frequencies of Activity
THRESHOLD ANALYSIS: CUMMULATIVE PERCENT OF TOTAL ACTIVITIES IN KINETIC/ORAL ACTIVITY CLUSTER 100% 95% 90% 85% 80% 75% 70% 65% 60% 55% 50% 45% 40% 35% 30% 25% 20% 15% 10% 5% 0%
Concentration of Respondents in relation to frequency of Kinetic/Oral Activity Concentration of Kinetic/Oral Activity in relation to % of Total Sample
THRESHOLD POINTS REPRESENTING 66% OF ACTIVITY (respondents engaging 82 or more times in past 12 mos.)
0
50
100
150
200
250
300
350
400
450
Frequency of Engagement (# Times/Past 12 Mo.)
82 Times/ Past 12 Mo. © 2011 WolfBrown
500
550
600
• Next, we identified a pool of respondents who are associated with each of the activity clusters. Each pool consists of the sub-set of respondents with the highest frequencies, who account for two-thirds of all activity in the cluster. • The chart at left provides an example of defining the 66% threshold value for Kinetic/Oral cluster membership. The two thick red lines intersect at a point at which 66% of activity is represented above or to the right of the blue and green (% respondents in relation to frequency, and % of frequency in relation to respondents, respectively) lines. In this case, the 66% threshold corresponds to engaging in the range of Kinetic/oral activities 82 or more times per year, which equates to approximately 12% of the total respondent sample. • While this captures the majority of activity in each cluster, it does not include many respondents who reported a little activity in the cluster. For example, if you reported low frequency in just one of the several activities in a given cluster, you would not be classified as a member of that cluster. 72
Proportion of Membership in Each Cluster Proportion of Activity Clusters (Defined by 66% Threshold) 60%
45%
50%
50%
53%
55%
40% 37%
35%
32%
30%
17%
17%
Arts Practice: Visual
Arts Practice: Narrative
12%
10% 5%
9%
18%
15%
Museum Attendance
20%
22%
23%
28%
25%
• The chart at left reports the proportion of respondents who are “members” of each cluster. • As would be expected, the most common, or “high-membership” clusters are: 1) Popular Media, 2) Reading, and 3) History, Science and Heritage. • Note that the least populated clusters tend to be the arts practice clusters. While many respondents may have been involved in arts practice activities earlier in life, that history of activity is not reflected in these figures, because they only reflect current activity (past 12 months).
© 2011 WolfBrown
Arts Practice: Musical
Arts Practice: Kinetic/ Oral
Performing Arts Attendance
Arts Practice: Digital
History & Science Museums, Zoos and Gardens
Spiritual/Worship
History, Science and Heritage
Reading
Popular Media
0%
73
Demographic Characteristics of Activity Cluster Groups
© 2011 WolfBrown
74
Demographics: Arts Practice Activity Clusters PERSONAL PRACTICE ACTIVITIES DEMOGRAPHIC SNAPSHOT OF ACTIVITY CLUSTERS
Gender Female Male Age Cohort 18 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65 - 74 Race White Black or African-American American Indian or Alaska Native Asian Native Hawaiian or Pacific Islander Hispanic (inc. booster sampling) Education High School or Less Some College Associates Degree Bachelors Degree Graduate or Professional Degree © 2011 WolfBrown
TOTAL SAMPLE
Arts Practice: Kinetic/ Oral
Narrative
Digital
Visual
Musical
52% 48%
48% 52%
46% 54%
46% 54%
59% 41%
30% 70%
12% 17% 17% 20% 14% 19%
25% 28% 23% 9% 5% 10%
27% 26% 21% 10% 8% 8%
24% 34% 20% 13% 6% 4%
22% 24% 19% 15% 8% 12%
26% 26% 16% 11% 5% 17%
65% 22% 1% 2% 0%
35% 39% 1% 4% 1% 31%
43% 34% 1% 3% 1% 26%
44% 36% 1% 3% 1% 40%
53% 23% 1% 3% 1% 28%
47% 26% 0% 3% 0% 19%
46% 17% 6% 18% 13%
53% 19% 6% 14% 8%
42% 18% 7% 18% 15%
50% 19% 6% 15% 10%
48% 19% 7% 16% 11%
50% 16% 6% 14% 14%
• Compared to the total sample, members of the arts practice activity clusters are decidedly younger and more diverse. • Note the high proportion of younger respondents in the Digital cluster (58% under 35) and Hispanics (40%). • Not surprisingly, respondents with somewhat higher education levels are found in the narrative cluster (i.e., writing). • Note the strongly male skew in the music cluster, and the female skew in the visual cluster.
75
Demographics: Arts Practice Activity Clusters (continued) PERSONAL PRACTICE ACTIVITIES DEMOGRAPHIC SNAPSHOT Work Status Working Full-time Retired Full-time Caregiver Working Part-time for Pay Full-time Student Not Working or Looking for Work Marital Status Single/never married Married or partnered Previously married or partnered Presence of Children % w/Children under 18 CEI Indexes Attend Live Performing Arts Visit Art Museums and Galleries Visit History and Science Museums Media-based Consumption Attend Community Cultural Events Curatorial Engagement Arts Learning Inventive Engagement Interpretive Engagement
© 2011 WolfBrown
TOTAL SAMPLE
Arts Practice: Kinetic/ Oral
Narrative
Digital
Visual
Musical
33% 21% 6% 15% 5% 20%
37% 11% 6% 16% 11% 19%
37% 8% 5% 17% 12% 20%
39% 6% 5% 16% 10% 25%
34% 13% 9% 16% 10% 19%
36% 16% 3% 15% 9% 20%
36% 48% 15%
58% 30% 12%
56% 33% 12%
58% 32% 10%
49% 38% 13%
54% 30% 16%
37%
56%
48%
48%
52%
41%
112 115 105 100 115 113 116 118 110
226 175 168 121 277 222 416 353 258
190 167 165 116 218 196 312 327 212
160 141 141 117 176 255 238 244 170
177 173 159 118 227 187 314 296 213
229 182 160 123 265 215 435 343 277
• Additional demographics and CEI indexes are reported on this page. • Among the most interesting patterns here is the high proportion of single adults who belong in these clusters (a reflection of their younger ages), suggesting that tarts practice activities may play both creative and social roles in their lives (although we cannot conclude this from the data, since the survey items did not specify solitary vs. group activity). Relatedly, observe the relatively lower figures for married respondents. • Generally, the people who do these activities are more likely than not to have children, underscoring a key finding from the 2008 analysis. • Cross-references with the original nine CEI domains are intuitive. 76
Demographics: Audience-Based Activity Clusters AUDIENCE-BASED ACTIVITIES DEMOGRAPHIC SNAPSHOT OF ACTIVITY CLUSTERS
Gender Female Male Age Cohort 18 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65 - 74 Race White Black or African-American American Indian or Alaska Native Asian Native Hawaiian or Pacific Islander Hispanic (inc. booster sampling) Education High School or Less Some College Associates Degree Bachelors Degree Graduate or Professional Degree
© 2011 WolfBrown
History, Science and Heritage
Reading
Spiritual/ Worship
Popular Media
52% 48%
43% 57%
54% 46%
57% 43%
54% 46%
18% 22% 17% 15% 10% 18%
12% 21% 21% 17% 14% 16%
9% 16% 19% 20% 17% 19%
8% 17% 18% 19% 15% 22%
13% 16% 19% 20% 14% 18%
14% 19% 19% 19% 13% 16%
56% 26% 1% 2% 1% 32%
50% 30% 1% 3% 1% 32%
46% 31% 1% 3% 1% 56%
64% 22% 1% 2% 1% 47%
64% 24% 1% 2% 0% 42%
52% 34% 1% 2% 0% 39%
59% 28% 0% 3% 0% 66%
42% 14% 8% 20% 15%
43% 17% 6% 21% 13%
49% 18% 6% 17% 11%
44% 17% 6% 19% 14%
41% 17% 6% 20% 16%
43% 19% 7% 18% 13%
47% 18% 6% 16% 12%
Performing History and Arts Nature Attendance Attendance
TOTAL SAMPLE
Art/Film Attendance
52% 48%
51% 49%
47% 53%
12% 17% 17% 20% 14% 19%
11% 22% 22% 18% 13% 15%
65% 22% 1% 2% 0%
46% 17% 6% 18% 13%
• Demographic profiles for each of the audiencebased activity clusters illustrates a different picture. • The age profile is much closer to that of the total sample. • A male skew is observed for the history, science and heritage cluster, while a female skew is observed for the spiritual/worship cluster (which includes singing). • Members of spiritual/ worship cluster are more likely to be African American (34%), but a majority (52%) are white. • Hispanics are most likely of all ethnic groups to be found in the popular media cluster (66%), and are also more likely than not to be found in the history, science and heritage cluster (56%). 77
Demographics: Audience-Based Activity Clusters (continued) AUDIENCE-BASED ACTIVITIES DEMOGRAPHIC SNAPSHOT
Work Status Working Full-time Retired Full-time Caregiver Working Part-time for Pay Full-time Student Not Working or Looking for Work Education Single/never married Married or partnered Previously married or partnered Presence of Children % w/Children under 18 CEI Indexes Attend Live Performing Arts Visit Art Museums and Galleries Visit History and Science Museums Media-based Consumption Attend Community Cultural Events Curatorial Engagement Arts Learning Inventive Engagement Interpretive Engagement
© 2011 WolfBrown
History, Science and Heritage
Reading
Spiritual/ Worship
Popular Media
33% 18% 7% 16% 6% 20%
34% 23% 6% 15% 4% 18%
33% 24% 6% 14% 4% 18%
34% 20% 7% 15% 5% 20%
35% 19% 6% 15% 6% 19%
49% 35% 16%
41% 44% 15%
34% 52% 14%
34% 49% 18%
36% 47% 17%
38% 48% 14%
44%
39%
48%
40%
38%
43%
43%
190 237 188 119 255 166 269 236 190
221 184 169 114 217 181 270 229 186
163 164 170 123 188 163 254 211 196
148 163 152 130 165 141 184 172 157
130 137 124 111 131 126 134 144 124
174 133 125 111 161 140 190 171 171
133 127 125 119 135 142 145 146 131
Performing History and Arts Nature Attendance Attendance
TOTAL SAMPLE
Art/Film Attendance
33% 21% 6% 15% 5% 20%
38% 14% 5% 18% 6% 20%
38% 18% 4% 15% 7% 18%
36% 48% 15%
43% 44% 13%
37% 112 115 105 100 115 113 116 118 110
• With respect to marital status and work status, members of the audience-based activity clusters closely mirror the entire sample. • Associations with the original nine CEI domains are all intuitive.
78
Focus on “Exclusive” Members (i.e., people who belong to only one activity cluster)
© 2011 WolfBrown
79
What are “exclusive members?” @A)@)A,B)>6%)1%%6CD@E:%FG%H%)1%CI,BJB,G%IEK6,:A6% :4;/<% =(% 6"5"*% 9(%
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• The pie chart at left reports the percentages of respondents according to the number of activity clusters to which they belong. • While 12% of respondents belong in no activity clusters, 18% belong to just one activity cluster. Together, they account for nearly a third of all respondents (i.e., “exclusive memberships”). The average number of memberships is three (i.e., respondents, on average, belong to three activity clusters). • Who are these people at the margins of the cultural ecosystem? If they only belong to one activity cluster, what is it? Perhaps we can learn something about entry points into the cultural system by examining this cohort of respondents.
80
What are “gateway” activities? Exclusive Membership: Proportion of Members in Each Activity Cluster Who Belong to Only One Cluster
31% 1% 11%
2%
4%
10% 2% 2% 4%
28%
3% 0.4%
10%
Kinetic/Oral
Narrative
Digital
Visual
Musical
Museum Attendance
Performing Arts Attendance
History, Science and Nature
History, Science, and Heritage
Reading
Spiritual/Worship
Popular Media
© 2011 WolfBrown
• Examination of the cohort of “exclusive members” reveals two dominant activity clusters: popular media (31%) and reading (28%). • Cultural programming delivered via television, broadcast radio and the Internet reaches a low-access population, suggesting the importance of media-based programming to the overall health of the ecosystem, because they reach so deeply into the population. • Another 11% of “exclusive members” reside only in the spiritual/worship cluster, and 10% each experience culture through history, science and heritage activities (including gardening and food preparation), and through arts practice activities (five activities combined), mostly digital and visual. • Key activities and average frequency (past 12 mos.) include: – – – – – – – –
Listen to music on radio station: 42 times Read magazines and newspapers: 39 times Read books for pleasure: 26 times Watch history or science programs on TV: 20 times Sing: 17 times Watch dance on TV: 11 times Research/explore family history: 10 times Hear music at worship service: 10 times
• With respect to demographics, “exclusive members” are significantly more likely than the total sample to be white (79%), but otherwise mirror the sample. • It should be noted that the CEI survey did not include a comprehensive list of cultural activities, and that all respondents may be active in other forms of cultural activity that were not included in the survey.
81
Deeper Look at Demographic Segments by Activity Cluster
© 2011 WolfBrown
82
Focus on Hispanic Respondents ?@)?)@,A)<%)1%BA6?C
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Detailed Frequency: Percentage of Respondents Who Do These Activities At Least Once a Month (Hispanic Respondents) 80% Hispanic
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© 2011 WolfBrown
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0% Visit area zoos or Watch dance on Visit art museums Attend comedy aquariums TV or galleries clubs, poetry slams, open mics
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Detailed Frequency: Percentage of Respondents Who Do These Activities At Least Once a Month (African-American Respondents) African-Americans
37%
26%
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15%
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© 2011 WolfBrown
14%
39%
40%
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Total Sample
64%
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Arts Practice: Musical
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Performing Arts Attendance
History, Science and Heritage
History and Nature Attendance
Arts Practice: Digital
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Popular Media
0%
0% Sing
Visit zoos or aquariums
Share something See praise dancing you created online in a church
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Focus on Young Professionals with Children >?(>(?,@(:%(0%A(B:C%0DE@F@75%GA%H%(0%DI,@J@,A% IFB5,7?%E7EG7?5K@>5% LD38M%H%$N%E"OP"#Q/2RQS%=T%
Prevalence of Activity Cluster Membership in Young Families
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74%
60% 52%
44%
40% 30%
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50%
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Arts Practice: Musical
Arts Practice: Visual
Arts Practice: Kinetic/Oral
Performing Arts Attendance
Detailed Frequency: Percentage of Respondents Who Do These Activities At Least Once a Month (Young Families)
51%
17%
25%
25% 22%
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Art/Film Attendance
Arts Practice: Narrative
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© 2011 WolfBrown
12%
10% 0% Read books for pleasure
Download music Watch dance on from the Internet TV
Research or explore family history
Read books about history/science
Focus on Adults Age 65+ =>)=)>,?)@%)0%)AB9>%CBDA,6%EF%G%)0%CH,?I?,F%HAD6,9>% J9JE9>6K?=6% LC4:M%G%$N%J"OP"#Q/3RQS%'T%
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Total Sample
90%
70%
74%
75%
80%
86%
60%
36%
30%
42%
43%
40%
37%
50%
37%
Arts Practice: Digital
Arts Practice: Kinetic/Oral
Arts Practice: Narrative
Arts Practice: Musical
Arts Practice: Visual
Art/Film Attendance
Performing Arts Attendance
History and Nature Attendance
Spiritual/Worship
History, Science and Heritage
Popular Media
Reading
0%
90%
6% 12%
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8% 9%
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17% 11%
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© 2011 WolfBrown
10%
10% 0% Listen to music on radio
Read books for pleasure
Research or explore Hear music Download music family history performed as part from the Internet of worship service
Exploring Intersections between Activity Clusters as Strategies for Audience Development and Collaborative Programming
© 2011 WolfBrown
87
Varying degrees of overlap are observed between the 12 clusters, from a low of 11% (between reading and music) to a high of 73% (between kinetic/oral and popular media) PERSONAL PRACTICE
Overlap Between Activity Clusters Arts Practice: Kinetic/Oral Arts Practice: Narrative Arts Practice: Digital Arts Practice: Visual Arts Practice: Musical Art/Film Attendance Performing Arts Attendance History and Nature Attendance History, Science and Heritage Reading Spiritual/Worship Popular Media
AUDIENCE-BASED History, History, and Science Reading Nature and Att'nce Heritage
Arts Practice: Kinetic/ Oral
Arts Practice: Narrative
Arts Practice: Digital
Arts Practice: Visual
Arts Practice: Musical
Art/Film Att'nce
Performing Arts Att'nce
100%
44%
33%
42%
53%
34%
38%
29%
21%
60%
100%
41%
44%
55%
38%
41%
33%
62% 58% 39% 49%
57% 45% 29% 41%
100% 36% 22% 56%
49% 100% 27% 49%
56% 52% 100% 42%
44% 46% 21% 100%
41% 38% 26% 45%
67%
52%
32%
49%
63%
54%
65%
54%
44%
58%
61%
62%
59%
47%
62%
63% 60% 73%
67% 52% 67%
52% 59% 46%
56% 49% 64%
Spiritual/ Worship
Popular Media
16%
23%
17%
27%
23%
27%
21%
47% 36% 20% 36%
40% 29% 16% 33%
32% 19% 11% 22%
28% 26% 17% 23%
34% 21% 12% 22%
100%
38%
32%
27%
32%
27%
54%
49%
100%
49%
33%
41%
36%
65%
68%
55%
66%
100%
48%
45%
44%
61% 59% 69%
61% 41% 65%
62% 47% 65%
59% 48% 69%
64% 39% 62%
100% 36% 60%
56% 100% 65%
57% 39% 100%
*Read down a column to look at a specific activity cluster. For example, 60% of Kinetic/Oral members also belong to the Narrative group. However, only 44% of Narrative members are also Kinetic/Oral members.
© 2011 WolfBrown
Connection Between Arts Practice and Attendance Activities
Proportion of Arts Practice Members In Attendance Activity Clusters
63% 49%
49%
42%
20%
10%
0% Arts Practice: Kinetic/ Oral
© 2011 WolfBrown
Arts Practice: Narrative
Arts Practice: Digital
Performing Arts Attendance History and Nature Attendance
32%
30%
61%
58%
56%
41%
40%
Art/Film Attendance
44%
49%
52%
50%
54%
67%
60%
65%
70%
Arts Practice: Visual
Arts Practice: Musical
• What is the relationship between membership in the arts practice clusters and membership in the attendance clusters? • The chart at left reports the proportion of arts practice membership within each of three attendance-based activity clusters. For example, note that two-thirds of members of the performing arts attendance cluster also belong in the kinetic/oral arts practice cluster. • Note the relatively low overlap between the digital cluster and the performing arts attendance cluster, but the higher overlap with art/film attendance.
Intersection #1: Reading and Performance
Reading Activity Cluster
Perf. Arts Activity Cluster
• Reading activities are some of the most prevalent in the sample population, with about half of respondents being members of the Reading cluster. Attending performing arts programs, on the other hand, are less prevalent (i.e., fewer people are doing them as frequently). About 60% of Performing Arts Attendance members are also members of the Reading cluster, whereas only 27% of Reading members are also Performing Arts members. • In diving a little deeper, we discover that 94% of respondents who attend plays at least once a year also read books for pleasure. Conversely, 54% of those who read attend plays or musicals. What kinds of programs might attract the remaining 46% of readers to live theatre? – For example, a theatre company works with high school students system to produce a play based on a novel they are reading.
Read books for pleasure
© 2011 WolfBrown
Attend plays or musicals with professional actors
90
Intersection #2: Popular Media with Kinetic and Digital
Popular Media Activity Cluster
Digital Activity Cluster
© 2011 WolfBrown
Kinetic/ Oral Activity Cluster
• The popularity of dance has been on a steady rise since the introduction of TV programs such as “Dancing with the Stars.” The relationship between activity clusters and individual creative activities underscores this trend and provides some fuel for thought about how to connect different media activities (e.g., watch TV and Internet) with attendance to live dance programs. Similar to Reading, Popular Media activities are by far the most prevalent of all activities, and this activity cluster is one of the more promising pathways to reaching those not as active in other creative activities. Over 70% of Kinetic/Oral members are Popular Media members, and another 62% are Digital members. • At the individual activity level, 82% of those who attend dance performances watch dance on TV. Over 40% of those who attend dance or watch it on TV also share things they created online with others. What kinds of activities could be built around these intersections that would drive attendance to dance performances? – For example, at a local theatre, weekly broadcast of “Dancing with the Stars” are shown on a large screen, interspersed with performances by students of local dance studios. Audiences are encouraged to take pictures and video with smart phones or flip cams, which are loaded onto studio websites and YouTube.
Watch dance on TV
Share something that you created online
Attend performances by dance companies
91
Intersection #3: Art Museums, Photography and Heritage
History, Science and Heritage Arts Practice: Visual Arts
Art Museum Attendance
• Only 18% of respondents are members of the Art/Film Attendance cluster, 10 percentage points lower than History and Nature Attendance cluster (which includes other museum-type facilities). What if museum attendance were activated through other, more prevalent activities? • Over 60% of Arts Practice: Visual members and Art/Film Attendance members are also members of the History, Science and Heritage cluster, which is another major “gateway” activity cluster. As expected, Arts Practice: Visual Arts members and Art/Film Attendance members overlap significantly as well. • Investigating at the individual activity level reveals a tremendous amount of overlap, in particular between photography and art museum/gallery visits, which is intuitive, but also between photography, art museums visitation and preparing ethnic or traditional foods.
– An example of another intersection-based program would be to capitalize on the popularity of food photography and blogging. A museum could invite the public to submit photographs of their own traditional family dishes to the museum to post on their website, with adjoining recipes. They might even be able to develop programming utilizing their own collections of objects or paintings depicting food (e.g., still-lifes) to the project.
Take photographs for artistic purposes Prepare ethnic or traditional food © 2011 WolfBrown
Visit art museums or galleries 92
A Closer Look at CreativeFocused Values
© 2011 WolfBrown
93
Demographic Profile of “Strong Creative Value Association” Responders DEMOGRAPHIC SNAPSHOT OF RESPONDENTS ASSOCIATED WITH CREATIVE VALUES Gender Female Male Age Cohort 18 - 24 25 - 34 35 - 44 45 - 54 55 - 64 65 - 74 Race White Black or African-American American Indian or Alaska Native Asian Native Hawaiian or Pacific Islander Hispanic (inc. booster sampling) Education High School or Less Some College Associates Degree Bachelors Degree Graduate or Professional Degree
© 2011 WolfBrown
Developing your own creativity
Discovering new artists and new art works
Feeling extremities of emotion through art
Strong Association
Weak Association
Strong Association
Weak Association
Strong Association
Weak Association
55% 45%
45% 56%
50% 50%
51% 49%
53% 47%
51% 49%
17% 22% 19% 17% 13% 12%
5% 13% 13% 23% 15% 32%
22% 22% 20% 15% 12% 9%
7% 13% 14% 22% 16% 27%
20% 23% 19% 16% 14% 9%
8% 15% 16% 23% 14% 25%
55% 28% 1% 3% 0% 12%
77% 16% 1% 1% 0% 5%
51% 28% 1% 4% 1% 15%
75% 17% 1% 1% 0% 7%
50% 28% 1% 4% 1% 17%
74% 16% 1% 2% 0% 7%
43% 20% 7% 17% 14%
57% 12% 7% 16% 8%
42% 18% 6% 21% 12%
53% 15% 5% 16% 10%
43% 19% 6% 21% 11%
52% 15% 6% 16% 11%
• The addition of values questions allowed for another lens through which to regard respondents’ relationship to creative activities. Three of the values listed on the questionnaire referred specifically to creative endeavors: “developing your creativity,” “discovering new artists and new works of art,” and “feeling the extremities of emotion through art.” • The chart at left and on the following page provide a demographic snapshot of respondents who had a “high association” (i.e., answered a 6 or 7 on a scale of 1 to 7, where 7 was very important), in comparison to “weak association” (score of 1 or 2). • A distinct pattern emerges that separates the strong association responders across all three values from the weak association responders. – Strong association responders are younger on average, more diverse, and are better educated than those with weaker associations.
94
Discovering New Artists and New Works of Art DEMOGRAPHIC SNAPSHOT OF RESPONDENTS ASSOCIATED WITH CREATIVE VALUES Work Status Working Full-time Retired Full-time Caregiver Working Part-time for Pay Full-time Student Not Working or Looking for Work Marital Status Single/never married Married or partnered Previously married or partnered Presence of Children % w/Children under 18 CEI Indexes Attend Live Performing Arts Visit Art Museums and Galleries Visit History and Science Museums Media-based Consumption Attend Community Cultural Events Curatorial Engagement Arts Learning Inventive Engagement Interpretive Engagement
© 2011 WolfBrown
Developing your own creativity
Discovering new artists and new art works
Feeling extremities of emotion through art
Strong Association
Weak Association
Strong Association
Weak Association
Strong Association
Weak Association
34% 14% 6% 16% 8% 22%
29% 36% 4% 13% 2% 17%
38% 9% 4% 17% 10% 22%
30% 30% 6% 14% 4% 16%
35% 11% 5% 19% 7% 22%
32% 26% 6% 13% 5% 18%
45% 41% 13%
24% 56% 20%
56% 33% 12%
27% 56% 17%
52% 35% 13%
28% 56% 16%
40%
28%
41%
32%
39%
34%
134 130 126 113 145 153 175 192 147
78 84 66 84 76 65 48 42 62
163 165 141 115 184 181 235 230 169
76 76 62 86 75 74 49 58 73
167 166 144 118 188 178 242 245 180
76 76 62 86 75 74 49 58 73
• Strong association respondents are also more likely to either be working full-time or not working or looking for work, which is probably correlated with the younger and more diverse age bias. They are also more likely to be single than weak association respondents. • As expected, CEI scores are significantly higher for strong association respondents across all three values. – Note how high CEI scores for Arts Learning and Inventive Engagement are for “discovering new artists and art” and “feeling extremities of emotion through art” (235 and 230, and 242 and 245, respectively).
95
Implications for Cultural Providers and Policymakers
© 2011 WolfBrown
96
Implications for Cultural Providers • Cultural organizations may use the results of the study to reflect on their programs and strategies for engaging the public. The implications that follow are framed as questions, in order to stimulate dialogue. In posing these questions, we do not mean to suggest that cultural providers should abandon their missions or lose focus on what they do best. • Given what you learned from the study, where do you see the most potential to involve significantly more people in your mission? • Consider where your programming fits into the cultural ecology. Do you offer inventive, interpretive, curatorial or observational programs? If your programs are mostly observational in nature, how can you respond to the surge of interest in personal creative expression? What does your mission say about the types of programs you can or should offer? Is it still relevant? • What other cultural programs and providers should you nurture, advocate for, and collaborate with because they help to build a constituency for your own programs? • What intersections might you explore between your own activity cluster or specific area of programming and other areas of cultural engagement? • How do your choices about venue and setting affect your likelihood of attracting different constituencies? What other arts and non-arts organizations might you partner with (e.g., businesses, social service agencies, places of worship, academic programs) to extend your impact or reach new constituencies? • If you accept that different segments of the public prefer to engage with culture in different ways, at different times, at different places, with different social expectations, what might you do to further differentiate your programs, or to develop different “product lines” geared for different audiences? • What can your organization do to encourage and reward your constituents for introducing and involving their friends and family in creative and cultural activities?
© 2011 WolfBrown
97
Implications for Funders and Policymakers • Once again, results illustrate that investments in culture are investments in civic engagement and quality of life. • Results hint at several scalable interventions for dramatically increasing engagement, including: reading programs connected to media events; large scale live events of a participatory nature; inventive competitions such as poetrywriting contests, programs that encourage people to tell their stories and chronicle their lives through various live and digital means. There are many more possibilities, limited only by the ability of the arts community to think systemically about cultural engagement. – The challenge to policymakers is how to design an organic community process through which such programs can be conceived, incubated and implemented at scale.
• From a policy standpoint, the study suggests three levers of engagement. How can the three levers be balanced? – Increase breadth; create more activity that engages a broader and more diverse cross-section of the public – Increase frequency; provide opportunities for people to delve more deeply into their specific interests – Increase importance or salience; through high quality and relevant programs, cultivate higher levels of interest in cultural activities
• Which activity clusters do current funding programs and application procedures privilege? Which activity clusters provide entry points into the cultural system? • Personal practice is a critical aspect of the cultural system, and correlates with higher levels of audience-based activity. – What infrastructure will support personal practice? Whose job is it to build and support this infrastructure? – How can more bridges be built between the audience-based and personal practice categories of engagement? What incentives can be put in place to stimulate this work?
• How can policymakers and funders become architects of impact, not just supporters of delivery mechanisms that may or may not be responsive to shifts in demand?
© 2011 WolfBrown
98
Appendix 1: Results by CEI Domain
© 2011 WolfBrown
99
1. Attend Live Performing Arts Programs (10% of total CEI) • The first category of audience-based activity is observational and encompasses attendance at six types of performing arts activities: – Attend concerts by professional musicians – Hear music at a worship service (.5) – See praise dancing in a church (.5) – Attend performances by dance companies – Attend comedy clubs, poetry slams or open mic nights – Attend plays or musicals with professional actors
• For this indicator, engagement is quite concentrated:
– The lower half of respondents account for just 16% of all engagement – The top 20% of respondents account for 50% of all engagement – The top 10% of respondents account for 30% of all engagement
© 2011 WolfBrown
100
1. Attend Live Performing Arts Programs Attend Live Performing Arts Programs 160
2008 (Index=100)
150
142
143
140
148
2010 (Index=112)
– With respect to the six lifestage groups, engagement is highest for the Mid-Life, No Children group, and lowest for the youngest and oldest cohorts.
107
113 114
106
Young Prof., w/Children
119 101
Young Prof., No Children
104 112
Female
112
111
Hispanic
101
107
110
112
121
120
123
128
131 129
130
100
98
92
White
96
93 98
New Jersey
100 94
• Increases in the performing arts aggregate index are disproportionately higher for residents of Metro Philadelphia, for African Americans, young professionals with children and retiree singles.
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Male
Black/African American
Metro Philadelphia
Suburban Philadelphia
90
101
2. Visit Art Museums and Galleries (10%) Visit Arts Museums and Art Galleries 160 158
2008 (Index=100)
150
126
Young Prof., w/Children
137 134
132
127
Young Prof., No Children
103 114
Female
116
106 114
Hispanic
105
103 116
102
103
116
110
124
120
125 129
145 133
130
144
2010 (Index=115)
140
• This index, comprised of just one survey item, rose from 100 to 115 in 2010. • Increases in this index are disproportionately higher for residents of Metro Philadelphia, and for families with children and retiree singles.
90
94
96
88
98
99
100
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Male
Black/African American
White
New Jersey
Metro Philadelphia
Suburban Philadelphia
80
102
3. Visit Historic Sites, History and Science Museums (15%) Visit Philadelphia Area Historic Sites, or History and Science Museums 140
127 129
111
106
106
Young Prof., No Children
111 110
103 107
Male
102
111
101
106
110
116
118
120
120
126
126
2010 (Index=105)
130
136
2008 (Index=100) 130
98
100
White
86
90
89
92 92
New Jersey
100 100
100
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Young Prof., w/Children
Female
Hispanic
Black/African American
Metro Philadelphia
Suburban Philadelphia
80
• In 2008, this indicator was comprised of just one survey item. While several items were added in 2010, this graph reports on just the one indicator. The index for this domain increased modestly from 100 to 105 in 2010. • While the overall index for this activity did not change much from 2008 to 2010, large increases were observed in Metro Philadelphia, among African Americans, and among Young Professionals with no children. • Note that 2008 Hispanic respondents also include “other” or “mixed race” respondents, whereas the 2010 results represent the Hispanic respondents in the main and booster samples. 103
4. Attend Community Cultural Events (15%) • The fourth category of audience-based activity is mostly observational and encompasses four activities: – Go to community ethnic or folk dances – Help to put on plays or shows (1.5) – Go to arts or crafts fairs – Attend film festivals
• Additionally, respondents were asked if they participated in any of eight specific community events in the past year, and were given additional points for each: – A special religious or holiday service (+10 points) – A parade or festival that celebrates your cultural heritage (+10 points) – Black History month (+5 points) – Chinese New Year (+5 points) – Cinco de Mayo celebration (+5 points) – New Year s Day parade (e.g., Mummer s parade) (+5 points) – Independence Day parades (+5 points) – Odunde Day (+5 points)
• Even for this indicator, engagement is still quite concentrated:
– The lower half of respondents account for just 13% of all engagement – The top 20% of respondents account for 53% of all engagement – The top 10% of respondents account for 35% of all engagement
© 2011 WolfBrown
104
4. Attend Community Cultural Events Attend Community Cultural Events 170
2008 (Index=100)
160
2010 (Index=115)
170
180
156
150
112
111 109
114
113
119
131
106 111
102
100
115
110
105
120
110
133
135
130
127 133
140
80
94
Young Prof., No Children
90 83
93
92
White
Male
95
New Jersey
90
89
100
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Young Prof., w/Children
Female
Hispanic
Black/African American
Metro Philadelphia
Suburban Philadelphia
80
• The index for this domain of cultural engagement rose from 100 to 115 in 2010. • Increases in engagement levels in community cultural events are higher within Metro Philadelphia County, among African Americans, and among Young Professionals with Children. • Note the high level of involvement for Hispanics in the 2010 results.
105
5. Media-Based Consumption (10%) • The fifth category of audience-based activity is observational and includes five media consumption activities: – Listen to music on local radio station – Watch TV shows about dance or dance competition – Watch programs about science or history on TV – Read books or magazines about science or history (1.5) – Listen to Internet radio (streaming audio) (.5)
• For this indicator, engagement is much more widespread:
– The lower half of respondents account for 33% of all engagement – The top 20% of respondents account for 32% of all engagement – The top 10% of respondents account for 17% of all engagement
© 2011 WolfBrown
106
5. Media-Based Consumption 120
2008 (Index=100)
115
2010 (Index=100)
101 102
101
102
Mid-Life, No Children
Retiree Couples
Retiree Singles
111
106
Mid-Life, w/Children
103 107
103 105
107 104
105 104
105
108 107
112
110
109
Media-Based Consumption
89
92
96 98
White
97 96
99 96
New Jersey
95
96 100
100
90 85
© 2011 WolfBrown
Young Prof., w/Children
Young Prof., No Children
Male
Female
Hispanic
Black/African American
Metro Philadelphia
Suburban Philadelphia
80
• Overall levels of engagement in the five media-based engagement activities did not change between 2008 and 2010. • Given the more widespread engagement in this activity category (i.e., the larger absolute numbers of people reading magazines, listening to the radio, etc.), smaller differences were observed across the demographic and lifestage groups. • Increases were observed for family groups, both young and mid-life professionals with children.
107
6. Arts Learning & Skills Acquisition (10%) • The sixth category of activity, and the first category of personal practice, relates to acquiring new creative skills. The six individual items included in this indicator are: – Take music lessons or classes – Take dance lessons – Take acting lessons – Take writing lessons – Take visual arts or crafts classes – Research or explore your family history
• Respondents with children under 18 in the household were asked three additional questions in reference to their children, and were given extra points as follows: Did any of your school-age children… – Go on a field trip to a museum or theatre during the last year (+5 points) – Belong to a music, theatre, dance or visual arts club or group during school (+10 points) – Take music, theatre, dance or visual arts lessons or classes, either after-school or outside of school (+20 points)
• Thus, respondents with children were eligible to score higher on this indicator, by definition. • For this indicator, engagement is highly concentrated: – A third of respondents reported no engagement in this category – The top 20% of respondents account for 64% of all engagement – The top 10% of respondents account for 44% of all engagement
© 2011 WolfBrown
108
6. Arts Learning & Skills Acquisition Arts Learning & Skills Acquisition 230 225
2008 (Index=100)
210
197
2010 (Index=116)
190
90
56
66
71 67
68
70
75
133 130
145 83
119 94
105 112
125
101
85 84
90
90 97
110
89
109
130
150
154
150
160
170
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Young Prof., w/Children
Young Prof., No Children
Males
Females
Hispanic
Black/African American
White
New Jersey
Metro Philadelphia
Suburban Philadelphia
50
• Overall, this index rose substantially from 100 in 2008 to 116 in 2010. • Increases were reported by Metro Philadelphia respondents, African Americans and Young Professionals with Children, and Hispanic respondents in particular. • Since respondents with children were eligible to score higher on this indicator, results for the two lifestage groups with children are artificially high and cannot be compared objectively for this indicator.
– However, when looking at the individual arts learning activities independent of the aggregate indicator, the lifestage groups with children still report higher engagement levels.
109
7. Inventive Engagement (10%) • The seventh category of personal practice activity encompasses eleven inventive activities in which the individual retains complete creative control, including: – Make up original tunes or compose music (2.0) – Make up own dance steps (2.0) – Write drama, fiction or short stories (2.0) – Write about your life in a journal, diary or blog – Write for business purposes – Write original poetry – Make crafts of any kind – Paint, draw or make other original art – Take photographs with artistic intentions (.5) – Make original videos or films (.5) – Share something online that you created yourself
• For this indicator, engagement is highly concentrated:
– The lower half of respondents account for just 10% of all engagement – The top 20% of respondents account for 60% of all engagement – The top 10% of respondents account for 40% of all engagement
© 2011 WolfBrown
110
7. Inventive Engagement Inventive Engagement
108 100
127
107 115
113 123
163
109
100 104
109
120
121
147
140
156
160
176
177
180
52
2008 (Index=100)
60
2010 (Index=118)
47
67
80
68
85 89
93
89 94
91 100
100
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Young Prof., w/Children
Young Prof., No Children
Male
Female
Hispanic
Black/African American
White
New Jersey
Metro Philadelphia
Suburban Philadelphia
40
• The largest gains between 2008 and 2010 were observed for inventive engagement, which encompasses 11 activities involving the creation of original work. • Here again, gains were observed for residents of Metro Philadelphia, African American respondents, and Young Professionals with Children, with high levels of engagement for Hispanics as well. • The gender skew found in 2008 has been obviated. • How can older adults have opportunities to continue generating original artistic output?
111
8. Interpretive Engagement (15%) • The eighth and largest category of personal practice activity encompasses twelve interpretive activities involving personal creative expression, including: – Sing – Play a musical instrument – Dance socially at night clubs or parties – Perform dances as part of a group – Participate in pageants or theatrical programs in places of worship – Rehearse and perform in plays or musicals (not in places of worship) – Tell stories in the oral tradition of story telling (.5) – Act out stories or scenes at home or at a friend s house (.5) – Read out loud or perform poetry or rap in front of an audience – Design, embroider or sew clothing – Do gardening or landscaping for fun – Prepare ethnic or traditional foods of your heritage
• Because of the large number of diverse activities, engagement in this category is somewhat more widespread: – Almost everyone engages at some level in this category of activity – The top 20% of respondents account for 45% of all engagement – The top 10% of respondents account for 27% of all engagement
© 2011 WolfBrown
112
8. Interpretive Engagement 170
2008 (Index=100)
160
2010 (Index=110)
162
Interpretive Engagement
150
144
140
116 122
105
100
106
113 113
122
114
102
105 124
110
102
120
131
130
80
92 73
82 76
99 96
93
85
93 95
97
90
97
100
70
© 2011 WolfBrown
Retiree Singles
Retiree Couples
Mid-Life, No Children
Mid-Life, w/Children
Young Prof., w/Children
Young Prof., No Children
Male
Female
Hispanic
Black/African American
White
New Jersey
Metro Philadelphia
Suburban Philadelphia
60
• The interpretive engagement index rose from 100 to 110 in 2010. Once again, gains were most prevalent amongst Metro Philadelphia residents, African Americans and Young Professionals with Children. Hispanics remain the most engaged for interpretative activities. • The gap between African Americans first observed in 2008 is even more pronounced now. – Once again, note how adults with children tend to report more interpretive activities for themselves.
113
9. Curatorial Engagement (5%) • The ninth and final category of personal practice is a narrow band of activity related to downloading and collecting music:
Curatorial Engagement
136 145
– Buy music for your own collection – Download music from the Internet – Take material you find online and remix it into your own creation
126
107 122
116
Hispanic
104
107
Black/African American
101
120
106
137
143
140
154
156
160
98 96
84 82
Mid-Life, w/Children
Mid-Life, No Children
95
95 92
95 96
97
100
56 52
2008 (Index=100)
60
41
2010 (Index=113)
60
80
© 2011 WolfBrown
Senior Singles
Senior Couples
Young Prof., w/Children
Young Prof., No Children
Male
Female
White
New Jersey
Metro Philadelphia
Suburban Philadelphia
40
• Engagement in this category rose from 100 to 113 in 2010. • Males are still more likely than females to engage in this category of activity. • The most significant demographic correlation, however, is with age, as illustrated in the sharply higher engagement levels among the younger lifestage groups.
114
Appendix 2: List of Intercept Sites
© 2011 WolfBrown
115
Intercept Sites Blanch Nixon-Cobbs Creek Free Library Nicetown-Tigoa Free Library Ramonita Rodrigues Free Library Greater Olney Free Library Walnut Street West Free Library Independence Free Library Joseph Coleman Northwest Regional Library Lillan Marrero Branch Free Library* South Philadelphia Free Library Paschalville Branch - Philadelphia Free Library Wynnefield Free Library Lucien Blackwell Regional Free Library Queen Memorial Free Library Widener Free Library Cecil B. Moore Free Library Northeast Regional Free Library Lansdowne Public Library J. Lewis Crozer Public Library West Oak Lane Farmer's Market Aston Public Library Haverford Farmer's Market (Haddington) Yeadon Public Library Oxford Circle Farmer's Market Sellers Memorial Public Library Germantown Farmer's Market Chester County Library Clark Park Farmer's Market Malvern Public Library West Chester Public Library Paoli Public Library Easttown Public Library Phoenixville Public Library Burlington County Library © 2011 WolfBrown
Cinnaminson Public Library Evesham Public Library Library Company of Burlington Beverly Public Library Pinelands Public Library Maple Shade Library Collingswood Farmer's Market Glassboro Public Library Logan Township Public Library Swedesboro Public Library Mullica Hill Library (Gloucester County) Bensalem Public Library Levittown Public Library Doylestown Free Library Pennwood (Langhome) Public Library Plymouth Meeting Mall Intersection of Main and Swede St. Centro de Oro Haverford Township Free Library Outside of Positano Restaurant (Ardmore) Outside of Bryn Mawr Film Institute (Bryn Mawr) Springfield Mall* Willow Grove Park Mall West Chester Pick & Berkeley Willingboro Public Library 9 East Main Street Intersection of W. Center St. and N. Delsea Dr. Intersection of S. Wayne and W. Lancaster Ave. Intersection of Market and High St. Wayne Station Intersection of 5th and Market St. Intersection of Darby Rd. and Brookline Blvd. McPherson Branch Philadelphia Free Library
Kensingston Public Library Wyoming Branch - Philadelphia Free Library Frankford Branch - Philadelphia Free Library Greater Philadelphia Urban Affairs Coalition Casa de Venezuela Congreso Norris Square Farmer's Market Intersection of 5th and Tabor Ave. Esperanza Fox Chase Library Lawncrest Branch - Philadelphia Free Library Haddington Library Overbrook Park Library Richmond Branch - Philadelphia Free Library Bustleton Library Fairhill Park Holmesburg Free Library Falls of Schuykill Free Library Chestnut Hill Free Library David Cohen Ogontz Free Library Upper Merion Township Library Lower Providence Community Library Haddonfield Farmer's Market Norris Square Civic Association - Child Care Center Mary M. Campbell Library Lackman Playground Warminster Train Station Fox Chase Elementary School Lansdale Public Library Swarthmore Public Library ParkWest Town Center Welsh Road Library Carmella Playground Olney Plaza Shopping Center 116 Shoprite
*Removed from sample due to special site-specific circumstances.
Appendix 3: Five Modes of Arts Participation Framework
© 2011 WolfBrown
117
TOTAL
AMOUNT OF CREATIVE CONTROL
NONE
Five Modes of Participation, Based on Level of Creative Control
• Inventive Participation engages the mind, body and spirit in an act of artistic creation that is unique and idiosyncratic, regardless of skill level. • Interpretive Participation is a creative act of self-expression that brings alive and adds value to pre-existing works of art, either individually or collaboratively. • Curatorial Participation is the creative act of purposefully selecting, organizing and collecting art to the satisfaction of one s own artistic sensibility.
NONE
• Observational Participation occurs when you see or hear arts programs or works of art created, curated or performed by other people.
© 2011 WolfBrown
• Ambient Participation involves experiencing art, consciously or unconsciously, that you did not select (not investigated in this study).
118
Appendix 4: Analysis of Differences between 2008 and 2010
© 2011 WolfBrown
119
Detailed Comparison of CEI Components, 2008 vs. 2010 DETAILED COMPARISON OF CEI COMPONENTS: 2008 to 2010
!"#
%$&'()$
ACTIVITY
Q18a Listen to music on a local radio station Q18b Buy music for your own collection Q18c Attend concerts by professional musicians (any style of music) Q18d Hear music performed as part of a worship service
FREQUENCY (% who do Net this activity at all) Change*
INDEX
Net Change as % of 2008
*SIGNIFICANCE TEST: FREQUENCY
SALIENCE (% "Very Important")
Net Change*
Net Change *SIGNIFICANCE TEST: as % of SALIENCE 2008
2008
2010
2008
2010
2008
2010
100
!"!
92.6%
93.1%
0.5%
0.6%
Not Significant
67.1%
72.0%
4.9%
6.8%
Significant
100
#$
75.8%
74.6%
-1.2%
-1.6%
Not Significant
34.0%
34.7%
0.7%
1.9%
Not Significant
100
!"!
60.2%
61.9%
1.7%
2.9%
Not Significant
30.3%
31.9%
1.6%
5.0%
Not Significant
100
#%
57.3%
54.5%
-2.8%
-4.9%
Not Significant
23.7%
25.0%
1.2%
5.0%
Not Significant
&!'()*+,&!'3)4567)6)89:+;65)+,:<=98(,< &!'-)>6?()89:+;)5(::@,:)@=);56::(: &!'A)B6?()9C)@=+-+,65)<9,(:)@=) ;@8C@:()89:+; &!#6)E6<;A)>F):A@G:)6H@9<)I6,;() @=)I6,;();@8C(<+<+@,: &!#H)K@)<@);@889,+<7)(
100 100 100
!"' !"% !!1
.%/.0 1!/"0 #/.0
%1/"0 12/"0 !"/#0
5.5% 3.0% 1.4%
#/$0 !2/!0 !2/.0
Significant Significant Not Significant
1./!0 !!/$0 2/'0
1'/20 !"/#0 2/'0
3.3% -0.7% 0.0%
11.7% -6.8% -0.6%
Significant Not Significant Not Significant
100
!1"
!./20
!$/'0
2.4%
!D/%0
Significant
%/D0
$/.0
1.1%
15.1%
Not Significant
100
!"1
%./10
%D/.0
-1.7%
J1/%0
Not Significant
DD/10
22/.0
11.3%
25.5%
Significant
100
!!.
11/!0
1D/20
1.3%
./$0
Not Significant
%/%0
'/%0
2.0%
22.9%
Significant
&!#;)*(()C=6+:()I6,;+,-)+,)6);A9=;A
100
#D
1%/%0
1%/"0
-0.6%
J1/10
Not Significant
!"/D0
!"/#0
0.5%
5.0%
Not Significant
100
!D!
1$/'0
1#/20
1.6%
./.0
Not Significant
#/D0
!D/.0
4.1%
30.7%
Significant
100
!!%
2%/"0
2'/'0
2.8%
./$0
Not Significant
1"/D0
1$/'0
7.6%
27.2%
Significant
100
!!$
!1/10
!D/10
1.0%
$/20
Not Significant
2/20
2/.0
0.1%
1.8%
Not Significant
100
!!D
!"/$0
!!/%0
0.9%
'/"0
Not Significant
%/!0
./#0
-0.1%
-2.4%
Not Significant
100
!1%
11/.0
1./10
2.7%
!"/%0
Not Significant
'/'0
!!/'0
2.9%
25.0%
Significant
&!#I)L<<(,I)C(=3@=86,;(:)H7) I6,;();@8C6,+(: &!#()M6,;():@;+6557)6<),+-A<);59H:) @=)C6=<+(: &!#3)4(=3@=8)I6,;(:)6:)C6=<)@3)6) -=@9C &!#-)>6?()I6,;()5(::@,:)N6,7):<75() @3)I6,;(O &!#A)B6?()9C)87)@G,)I6,;():<(C:
© 2011 WolfBrown
120
Detailed Comparison of CEI Components, 2008 vs. 2010 - continued DETAILED COMPARISON OF CEI COMPONENTS: 2008 to 2010
!"#$%&'()!%*%&'
*+"#*!"(,"!-.!/#&0"
ACTIVITY
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
© 2011 WolfBrown
FREQUENCY (% who do Net this activity at all) Change*
INDEX
Net Change as % of 2008
*SIGNIFICANCE TEST: FREQUENCY
SALIENCE (% "Very Important")
Net Change*
Net Change *SIGNIFICANCE TEST: as % of SALIENCE 2008
2008
2010
2008
2010
2008
2010
100
89:
9";<=
9:;8=
1.6%
:;>=
Not Significant
8>;?=
">;"=
9.4%
33.4%
Significant
100
88?
<8;?=
<#;>=
-0.9%
B8;?=
C,'%D56)5A5+$)'
"E;E=
9>;"=
8.3%
21.6%
Significant
100
88G
"G;8=
"?;#=
1.0%
9;G=
C,'%D56)5A5+$)'
8";E=
8?;:=
4.5%
25.7%
Significant
100
8""
8E;G=
"8;G=
2.1%
E;G=
C,'%D56)5A5+$)'
G;<=
>;#=
1.5%
18.5%
Not Significant
100
8">
8#;"=
8";G=
2.4%
8>;E=
Significant
9;?=
<;#=
1.4%
27.5%
Not Significant
100
8">
E;?=
88;:=
1.6%
8:;<=
C,'%D56)5A5+$)'
:;:=
<;"=
0.8%
15.0%
Not Significant
100
89"
8";E=
8:;#=
1.0%
?;:=
C,'%D56)5A5+$)'
G;9=
E;#=
2.7%
30.3%
Significant
100
8<#
<;#=
?;9=
2.3%
98;"=
Significant
";>=
:;8=
1.4%
33.0%
Not Significant
100
EG
EG;#=
E9;9=
-2.7%
B";E=
C,'%D56)5A5+$)'
G9;:=
G?;8=
3.7%
5.6%
Significant
100 100
EE 89>
E#;>= ?G;9=
>E;G= ?9;:=
-1.2% -2.9%
B8;:= B:;#=
C,'%D56)5A5+$)' C,'%D56)5A5+$)'
G#;<= 9:;:=
1.2% -0.7%
1.9% -2.1%
Not Significant Not Significant
100
8#<
9:;G=
9<;?=
1.1%
9;"=
C,'%D56)5A5+$)'
8:;9=
8<;:=
1.2%
7.5%
Not Significant
100
88G
8>;G=
8E;E=
1.4%
G;E=
C,'%D56)5A5+$)'
G;>=
?;"=
0.5%
6.4%
Not Significant
100 100
8#< 8#<
98;:= "8;<=
9:;9= "8;#=
2.9% -0.5%
>;<= B";:=
C,'%D56)5A5+$)' C,'%D56)5A5+$)'
8#;:= E;#=
8#;?= >;E=
0.2% -0.1%
2.3% -0.9%
Not Significant Not Significant
100
8":
8";"=
89;E=
1.7%
8";"=
C,'%D56)5A5+$)'
:;"=
<;#=
0.8%
16.5%
Not Significant
100
88<
8#;G=
8";8=
1.5%
8";<=
C,'%D56)5A5+$)'
<;:=
:;>=
-0.6%
-13.1%
Not Significant
121
Detailed Comparison of CEI Components, 2008 vs. 2010 – continued DETAILED COMPARISON OF CEI COMPONENTS: 2008 to 2010
!"#$"%&'()$*$)$%+
,$+)!-./&+($%"(%&'"0&"')1-%
'-)+&'"0&(-'2)+
ACTIVITY
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© 2011 WolfBrown !"/B%M$E=%;$(=)-$>%F'<%,-7B%'7>-7=% >-E=%*'76*%(=U(%')%-;$6=*%$7B%)=;-U% -(%-7('%F'<)%'J7%$)(-*(-+%+)=$(-'7
FREQUENCY (% who do Net this activity at all) Change*
INDEX
Net Change as % of 2008
*SIGNIFICANCE TEST: FREQUENCY
SALIENCE (% "Very Important")
Net Change*
Net Change *SIGNIFICANCE TEST: as % of SALIENCE 2008
2008 100
2010
2008
2010
2008
2010
../
0/1"2
0/132
0.8%
.1#2
4'(%5-67-,-+$7(
"0182
#.1/2
6.6%
21.0%
Significant
100
..0
03182
031?2
0.4%
81/2
4'(%5-67-,-+$7(
#.1?2
#@1#2
6.9%
18.0%
Significant
100 100
."# ."#
"#1#2 ?/1/2
"#132 081@2
0.7% 4.2%
"1@2 @1"2
4'(%5-67-,-+$7( Significant
@132 ".1?2
.8132 "G102
2.0% 6.1%
18.3% 22.1%
Not Significant Significant
100
..3
#"182
#?1@2
2.8%
@1.2
4'(%5-67-,-+$7(
."102
./182
3.4%
21.6%
Significant
100
.8?
"0102
"/1#2
0.8%
#1"2
4'(%5-67-,-+$7(
3132
.8102
0.6%
5.5%
Not Significant
100
..#
#"1?2
#/182
3.6%
.8182
Significant
./102
.@1G2
2.3%
12.2%
Not Significant
100
..3
./1"2
.@1#2
2.1%
..1/2
4'(%5-67-,-+$7(
/1.2
G102
1.4%
18.6%
Not Significant
100
."8
.8102
."1#2
1.8%
.?1/2
4'(%5-67-,-+$7(
0102
01?2
-0.1%
-2.4%
Not Significant
100
3@
@/1@2
@/1.2
-0.7%
P81@2
4'(%5-67-,-+$7(
??1#2
?01?2
1.1%
2.4%
Not Significant
100
.88
/@1?2
/31?2
1.0%
.1?2
4'(%5-67-,-+$7(
"31@2
##1@2
3.9%
11.7%
Significant
N/A
.88
N/A
/"1@2
N/A
4SA
N/A
#.132
N/A
N/A
N/A
.88
N/A
?G1@2
N/A
4SA
N/A
.3182
N/A
N/A
100
3.
/@1G2
/01@2
-2.9%
P?1?2
4'(%5-67-,-+$7(
"@1.2
"/182
-2.0%
-7.8%
Not Significant
100
.8.
0G1#2
0G1.2
-0.2%
P81#2
4'(%5-67-,-+$7(
"@1.2
"31G2
1.6%
5.5%
Not Significant
100
.80
001.2
0@132
3.8%
/102
Significant
"0182
"G1.2
2.1%
7.8%
Not Significant
100
.8?
?G1"2
?G132
0.7%
.1?2
4'(%5-67-,-+$7(
""1/2
"#1.2
0.5%
2.2%
Not Significant
100
."G
?#1/2
?31"2
5.6%
..1#2
Significant
"?1.2
#@182
14.0%
36.7%
Significant
100
.#8
??1.2
0.132
7.8%
.?132
Significant
".1@2
##1"2
11.4%
34.4%
Significant
100
.##
#0182
?#1.2
8.0%
.@1G2
Significant
.@1#2
"G1?2
9.1%
33.1%
Significant
122 100
."3
.G1@2
"8132
3.0%
.?1/2
Significant
G1.2
.81#2
3.2%
31.2%
Significant
Appendix 5: Survey Protocol and Topline Report
© 2011 WolfBrown
123
Survey of Cultural Life in Greater Philadelphia Please tell us about your creative and cultural activities. Answer the questions in reference to your own activities, not the activities of others in your family. Your responses are confidential and will help build more support for the diversity of cultural life in our area.
! BEGIN HERE:
First, please answer a few questions about yourself!
1.
What is your five-digit home ZIP code?
2.
In which county do you live? [If you do not live in one of these counties, you are not eligible for the survey.] " Bucks County, PA " Burlington County, NJ " Camden County, NJ
3.
ZIP Code:
" Chester County, PA " Delaware County, PA " Gloucester County, NJ
____ ____
____
" 3 to 5 years " 6 to 10 years
4.
What is your gender?
5.
In what year were you born?
6.
What is your work status? (! one) " Working full-time for pay " Retired " Full-time caregiver
" Montgomery County " New Castle County, DE " Philadelphia County, PA
" More than 10 years, but not my whole life " All of my life
" Female
" Male
Year: ____
____
____
____
" Working part-time for pay (under 30 hours a week) " Full-time student " Not working/looking for work
7.
Do you earn a portion of your income from performing or making art? (! one)
8.
What is the last level of school you completed? (! one) " Grade School " Some High School " Completed High School (or G.E.D.)
" Some College (no degree) " Associate Degree " Bachelors Degree
" Graduate or Professional degree
" Yes – Puerto Rican " Yes – Cuban " Yes – Other Hispanic or Latino
What is your racial background? (#all that apply) " White/Caucasian " Black or African-American " American Indian or Alaska Native
11.
" Yes " No
Are you of Hispanic or Latino origin? (# one) " No – not Hispanic or Latino " Yes – Mexican, Mexican-American, Chicano
10.
____
How long have you lived in the Greater Philadelphia area? (# one) " Less than 1 year " 1 to 2 years
9.
____
" Asian " Native Hawaiian or Pacific Islander " Some other race or mixed race
What is your marital status? (! one) " Single/never married
©2010 WolfBrown
" Married or partnered
" Previously married
Page 1
Survey of Cultural Life in Greater Philadelphia
12.
The next questions are about the creative and cultural activities that you do now. For each activity, check a box for how frequently you do the activity. Then, indicate in the right-hand column which activities, if any, are very important to you. One more note: Please answer in terms of what you do now, not what you have done in the past, or what you would like to do in the future. First, tell us about your music activities. On average, how frequently do you!
A. B. C. D. E. F. G. H.
Listen to music on a local radio station Buy music for your own collection Attend concerts by professional musicians (any style of music) Hear music performed as part of a worship service Sing for your own enjoyment Play a musical instrument for your own enjoyment Take music lessons or classes Make up original tunes or compose music
Which of these activities, if any, are very important to you?
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
" "
" "
" "
" "
$ $
" "
"
"
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Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
"
"
"
"
$
"
" " " " " " "
" " " " " " "
" " " " " " "
" " " " " " "
$ $ $ $ $ $ $
" " " " " " "
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
"
"
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$
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"
Next, a few questions about your dance activities. 13.
A. B. C. D. E. F. G. H.
On average, how frequently do you!
Watch TV shows about dance or dance competitions Go to community ethnic or folk dances See praise dancing in a church Attend performances by dance companies Dance socially at night clubs or parties Perform dances as part of a group Take dance lessons (any style of dance) Make up my own dance steps
Which of these activities, if any, are very important to you?
Next, a few questions about your theatre and drama activities. 14.
A. B. C. D. E. F. G. H.
On average, how frequently do you!
Attend comedy clubs, poetry slams or open mic nights Attend plays or musicals with professional actors Tell stories in the oral tradition of storytelling Act out stories or scenes at home or at a friend's house Participate in pageants or theatrical programs in places of worship Rehearse and perform in plays or musicals in front of an audience (not in places of worship) Help to put on plays or shows, but not act in them Take acting lessons
©2010 WolfBrown
Which of these activities, if any, are very important to you?
Page 2
Survey of Cultural Life in Greater Philadelphia
Next, a few questions about your reading and writing activities. 15.
A. B. C. D. E. F. G. H. I.
On average, how frequently do you!
Which of these activities, if any, are very important to you?
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
" " "
" " "
" " "
" " "
$ $ $
" " "
"
"
"
"
$
"
" " "
" " "
" " "
" " "
$ $ $
" " "
"
"
"
"
$
"
"
"
"
"
$
"
Read magazines or newspapers Read books for pleasure Visit a public library Write about your life in a journal, diary or weblog Write drama, fiction or short stories Write for business purposes Write original poetry Read out loud or perform poetry or rap in front of an audience Take writing lessons or classes
15A. In a typical day, about how much time do you spend reading books, newspapers or magazines for fun? (! one) " Less than 30 minutes
" 30 to 60 minutes
" 1 to 2 hours
" More than 2 hours
Next, a few questions about your visual arts and crafts activities. 16.
A. B. C. D. E. F. G. H. I. 16A.
On average, how frequently do you!
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
" " " " " " " " "
" " " " " " " " "
" " " " " " " " "
" " " " " " " " "
Go to arts or crafts fairs Visit art museums or art galleries Attend film festivals Make crafts of any kind Paint, draw or make other original art Design, embroider or sew clothing Take photographs with artistic intentions Make original videos or films Take visual arts or crafts classes
Which of these activities, if any, are very important to you?
$ $ $ $ $ $ $ $ $
" " " " " " " " "
How important to you is collecting and displaying art and crafts in your home? (! one) " Not Important
" Somewhat Important
" Very Important
" Extremely Important
Next, a few questions about your science, nature and heritage activities. 17.
A. B. C. D. E. F. G. H.
On average, how frequently do you!
Watch programs about science or history on TV Visit Philadelphia area historic sites or history museums Visit Philadelphia area zoos or aquariums Visit Philadelphia area public gardens or arboretums Read books or magazines about science or history Do gardening or landscaping for fun Prepare ethnic or traditional foods of your heritage Research or explore your family history
©2010 WolfBrown
Which of these activities, if any, are very important to you?
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
"
"
"
"
$
"
"
"
"
"
$
"
"
"
"
"
$
"
"
"
"
"
"
"
"
"
$
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"
"
"
"
$
"
"
"
"
"
$
"
"
"
"
"
$
"
"
Page 3
Survey of Cultural Life in Greater Philadelphia
Next, a few questions about your online creative activities. 18.
A. B. C. D.
19.
On average, how frequently do you!
Which of these activities, if any, are very important to you?
Never or Almost Never
At Least Once a Year
At Least Once a Month
At Least Once a Week
" "
" "
" "
" "
$ $
" "
"
"
"
"
$
"
"
"
"
"
$
"
Listen to Internet radio (streaming audio) Download music from the Internet Share something online that you created yourself such as music, artwork, photos, stories or videos Take material you find online, like songs, text or images, and remix it into your own artistic creation
Did you participate in any of the following events in the past year? (# all that apply) " A special religious or holiday service (e.g., Christmas, Easter, Passover, Ramadan) " A parade or festival that celebrates your cultural heritage " Black History Month events " Chinese New Year " Cinco de Mayo celebration " New Year’s Day Parade (e.g., Mummer’s Parade) " Independence Day Parades " Odunde Day
20.
How much do you agree with each of the following statements? “I take a strong interest in the arts and cultural customs and practices of my ancestors.” (# one) " Disagree a lot
" Disagree a little
" Agree a little
" Agree a lot
“I seek out activities that will expose me to a broad range of world cultures.” (# one) " Disagree a lot 21.
" Disagree a little
" Agree a little
How important to you are each of the following? (circle a number for each) Not At All Important A. B. C. D. E.
22.
" Agree a lot
Very Important
Developing your creativity ................................................... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Discovering new artists and new works of art ..................... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Having a spiritual life ........................................................... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Feeling the extremities of emotion through art .................... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Adopting new technologies as quickly as possible ............. 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7
How important to you are each of the following? (circle a number for each) Not At All Important A. B. C. D.
Very Important
Strengthening family relationships ...................................... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Making new friends and expanding your social network ..... 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Being involved in social or environmental causes .............. 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7 Voicing your political views ................................................. 1 ...... 2 ...... 3 ...... 4 ......5 ..... 6 ...... 7
©2010 WolfBrown
Page 4
Survey of Cultural Life in Greater Philadelphia
23.
How well does each of the following statements describe you? (circle one for each) Not At All
Extremely Well
A. I’m very good at writing and speaking persuasively.
1 ................. 2 .................. 3 ................. 4.................. 5 .................. 6 ................. 7 B. I am well-coordinated and like to dance in front of other people.
1 ................. 2 .................. 3 ................. 4.................. 5 .................. 6 ................. 7 C. I’m a musical person with a good ear for harmony and melody.
1 ................. 2 .................. 3 ................. 4.................. 5 .................. 6 ................. 7 D. I pay attention to color and texture, and love to visualize things in my mind.
1 ................. 2 .................. 3 ................. 4.................. 5 .................. 6 ................. 7 24.
Do you socialize with your neighbors on a regular basis?
" Yes " No
25.
Do you attend religious services on a regular basis?
" Yes " No
26.
Do you do any volunteer work on a regular basis?
" Yes " No
27.
Does anyone in your family have a library card?
" Yes " No
28.
Did you vote in any election in the past year?
" Yes " No
29.
Compared to a year ago, would you say that you’re doing creative and cultural activities!? (# one) " Not as often
30.
" More often
In your opinion, how important a role do creative and cultural activities play in improving the quality of life of Philadelphia area residents? (# one) " Not at all important
31.
" The same amount
" Somewhat important
" Very important
" Extremely important
Of all the creative and cultural activities listed in this survey, which one or two activities would you most like to do more often than you do now? _______________________________________________________________________________ _______________________________________________________________________________
Thank you for your patience. Just a few more questions about your family. 32.
Are you the parent or caregiver of any children who regularly live with you? " Yes " No $ Skip to the end
33.
If Yes, how old are these children? (! all that apply) " Under age 6
34.
" No
" Don’t Know
During the past school year, did any of your school age children belong to a music, theatre, dance or visual arts club or group at school? " Yes
36.
" Ages 13 to 17
Did any of your school age children go on at least one school field trip to a museum or theatre during the last school year? " Yes
35.
" Ages 6 to 12
" No
" Don’t Know
During the past school year, did any of your school age children take music, theatre, dance or visual arts lessons or classes, either after-school or outside of school? " Yes
" No
" Don’t Know
If you are the parent or caregiver of a school age child, you may be eligible for an additional $5 in cash. Please ask the survey coordinator. Otherwise, please hand in your completed survey.
©2010 WolfBrown
Page 5
