Summary and Findings of Each Chicago Study

Chicago Area Audience Development/Engagement
1996 to present
KEY STUDIES

Mapping Cultural Participation in Chicago
By Robert LaLonde, Colm O’Muircheartaigh, Julia Perkins with Diane Grams, Ned English, D. Carroll Joynes (Center for Arts Policy, University of Chicago)
Funded by The Joyce Foundation
Published 2006
Full report is available at http://culturalpolicy.uchicago.edu/pdfs/MappingCPICweb.pdf; executive summary http://culturalpolicy.uchicago.edu/pdfs/MappingCPICExecSumm.pdf

Mapping Cultural Participation in Chicago addresses the question: What is the connection between Chicago’s major cultural organizations and the economically, racially, and ethnically diverse population of Chicago? This is the first study of its kind of a major U.S. metropolitan area, and draws upon data – ticket purchases, subscriptions, donor lists – from Chicago’s 12 largest cultural organizations and 49 smaller organizations. It analyzes more than one million records from these organizations, representing almost 600,000 households. Information from the transactions was linked to census data on socio-economic status, race, and ethnicity to provide neighborhood-by-neighborhood maps of participation patterns. The study establishes the first benchmark to enable organizations to assess the future effectiveness of their diversity-building efforts among African-Americans and Latinos.

Key findings of the study

• Participation in Chicago’s largest arts and cultural organizations is highest in predominately white, high-income areas of the metropolitan area. In these areas, which are primarily north of downtown bordering on the Lake, Hyde Park and Oak Park, roughly one out of two households participates in the arts. Additionally, donors are even more concentrated in predominately high income areas. Often these households participate in more than one institution.
• The socioeconomic factors of a household’s neighborhood are more important predictors of arts participation than ethnicity. However, even taking this into consideration, for the city’s largest institutions, ethnic composition is still a predictor of participation.
• Ethnic, diverse and other smaller organizations successfully reach a different audience than major institutions. This is especially true for organizations whose missions target particular ethnic and diverse audiences. Communities with predominately African-American and Latino populations appear to be well represented in these smaller organizations.
• With no earlier benchmark, whether or not progress is being made can not be assessed. However, the study indicates that Chicago’s largest arts organizations appear not to be successful at engaging households in areas with poor socioeconomic backgrounds. This suggests that the major institutions may need to reassess audience development practices and further explore barriers and motivations to audience participation.

Getting in Step with Chicago Dance Audiences: Research Findings and Key Issues for Growth
Conducted by Slover Linett Strategies
Funded by The Chicago Community Trust
Presented November 10, 2004
Click here for PDF presentation of the study.

This study provides an audience profile of dance attendees in relation to cultural consumers and the general Chicago population; key findings about dance attendance; and suggests ways to grow dance audiences. Research methodology included a literature review, interviews with dance leaders, qualitative audience research through focus groups and regular dance attendees, quantitative audience research (telephone survey of 550 Chicago area dance attendees and cultural consumers), and database analysis of ticket buying data of 26 dance companies and presenters.

Key findings of the study

• The dance audience can be characterized as highly educated, generally Caucasian, well above average income, average age in the 40s, female, and married.
• Dance attendees see a great deal of dance, going to an average of 4.6 performances over the past year. Half of the dance attendees, as well as cultural consumers are interested in increasing their dance attendance.
• Factors that would encourage greater attendance include the following: more information about performances, greater variety of dance performances, more background on the companies or works to be performed, lower ticket prices or promotions, and hassle free transit and parking.
• Primary reasons cited by cultural consumers for not attending dance performances include a preference for other performing arts, are too busy, are not aware of available performances, none of the dance performances have appeal, cost of the evening is too much, too much hassle getting to and from performances, and lack of enjoyment for dance performances.
• Most dance companies suffer from low awareness, even the largest companies
• Audiences for different dance types do not vary much demographically, however they do differ in attitudes and benefits derived.
• There is considerable audience crossover in dance forms.
• Childhood exposure, especially participatory, counts.
• Four top benefits to attending dance performances cited were seeing something beautiful, being entertained, seeing something new or surprising, and feeling excited.
• Dance audiences want more information about performances and to understand the meaning behind the performances.
• For non-dance cultural consumers, word of mouth is an effective means of encouraging attendance.
• Significant and sustainable momentum can be built with continued collaborative work within the dance community.

Strategies for building dance audiences

• Increase awareness, individually and of Chicago area dance activity generally.
• Identify the target audience and recognize differences in attitudes and benefits derived from particular companies or types of dance.
• Partner with other dance companies to increase crossover in dance attendance, as well as other cultural organizations.
• Understand the unique benefits people receive from attending performances and position your organization accordingly. Use clear language that people will understand.
• Use targeted price promotions to attract attendance.
• Get more information out both about available performances, as well as the meaning behind the performances, particularly through the internet and word of mouth.

The Market for the Arts in Chicago
By Dona Vitale (Strategic Focus, Inc.)
Prepared for Webb Management Services and City of Chicago Department of Planning
Published February 2003
Click here for a PDF presentation of the study.

Providing a point of comparison with a 1996 comprehensive leisure activities survey conducted by Northwestern University under the auspices of the Arts & Business Council of Chicago (Expanding the Market for the Arts in Metro Chicago), this study is intended to update and supplement this early study of Chicago and the national arts audience, while giving the City of Chicago Planning Department a tool to help in its assessment of the feasibility of individual proposals for arts facilities. It explores the current core audience and potential sources of new audiences for the performing arts in Chicago, as well as cross-over consumption of the performing arts, cultural facilities (museums, zoos and cultural centers), and participatory arts activities. Data was gathered through a telephone survey in 6 Chicago metro counties administered to a randomly selected sample of households in the fall of 2002. 622 respondents were surveyed about 944 performance types.

Key findings of the study

• There is a clear split between people who participate in the arts and those that do not. About 35% of all adults in the region make up most of the audience for the performing arts, representing 88% of the total audience. Of this segment, 16% (frequent attendees) attend an average of 19 performances annually and make the most visits to cultural institutions and are most likely to participate in the arts and display a strong commitment to the arts. The other 19% attend occasionally – an average of 5 performances annually across multiple disciplines and 11 visits to cultural institutions. 29% of the region attended one or two performances annually. These individuals tend to be under 35, married, and have children, and represent an underdeveloped market for the arts. The final third are not only inactive in the arts, but also in a wide range of other leisure pursuits.
• Active arts participants are more active overall.
• Popular music and musical theater attract the widest audiences; frequent attendees make up 75% of the audience for opera, classical music and poetry readings/lectures. Zoos and aquariums are the most commonly visited cultural venue.
• Discipline cross-over attendance is the predominant pattern as those who participate in the arts, make arts related activities an important part of their lives. This indicates that there is a single market for the arts in Chicago rather than isolated by discipline.
• Barriers to attendance across all types of attendees appear to be lack of time, high ticket prices, and lack of spouse/peer interest.
• Demographic characteristics of the audience include the following:
  
  • Education is the strongest difference between those who attend and those who do not. 82% had some college education and frequency of attendance rises with increased college education.
  • 80% of those who attend are under 55; 38% are also under 35.
  • Most frequent attendees tend to be Caucasian, while non-attendees are slightly more likely than the general population to be Latino or African-American.
  • Attendance by income is spread across a broad range of income from $20,000 to over $100,000 with higher income levels related to more frequent attendance.
  • About two-thirds of respondents claimed to participate in personal art making; there was a strong correlation between attending performances and art making participation.
  • 86% of attendees reside in Cook, DuPage or Lake Counties; more frequent attendees were more likely to live in Chicago, particularly in the Loop, North Lakefront and Northwest sides.

The Informal Arts: Finding Cohesion, Capacity and Other Cultural Benefits in Unexpected Places
By Alaka Wali, Rebecca Severson, and Mario Longoni (Chicago Center for Arts Policy, Columbia College Chicago)
Funded by John D. and Catherine T. MacArthur Foundation, Rockefeller Foundation, National Endowment for the Arts, Illinois Arts Council, Richard H. Dreihaus Foundation, Urban Institute/Arts and Culture Indicators in Community Building Project and Columbia College Chicago
Published June 2002
Full report available at http://www2.colum.edu/center_for_arts_policy/pdf/Informal_Arts_Full_Report.pdf; executive summary http://www2.colum.edu/center_for_arts_policy/pdf/Informal_Arts_Executive_Summary.pdf

This ethnographic study investigates adult participation in the “informal arts”, popular creative activities that fall outside of traditional non-profit and commercial arts experiences, yet engages millions of amateur and professionals alike. Looking at activities in 22 Chicago communities, the researchers discovered that these “hands on” activities tap people’s creative potential and expand the concept of artistic participation beyond the role of audience member. Specifically it examines three areas of inquiry: 1) the extent to which informal arts participation leads people to interact across social barriers (ethnicity/race, class, gender and age; 2) the types of skills and inclination that participants acquire or develop in the course of art-making that could be helpful in building civic engagement and strengthening communities; and 3) the processes through which links are established between the informal and formal sectors of arts production, and the benefits gained on both sides from interactions. The researchers specifically examined 12 case studies of informal arts activity that involved either small groups or single individual as participants that represented a diversity of disciplines and locations.

Key findings of the study:
(Excerpted in part from the study’s Executive Summary.)

• For many people, the informal arts are significant vehicles for participation in community life. People who participate in informal arts come from all walks of lie, reflecting diversity in demographic characteristics; everyone is welcomed.
• Informal arts help people bridge social boundaries of age, gender, race/ethnicity and occupational status, boundaries that through historical processes have often been used to sustain structures of inequality. The inclusive character of informal arts practice and the socially accessible localities where it occurs induce trust and solidarity among participants, and promote greater understanding and respect for diversity.
• Informal arts practice provides important opportunities for adult personal expression and creativity. In the process, it helps to build individual and community assets by fostering social inclinations and skills critical to civic renewal. These include greater tolerance of difference, trust and consensus building, collaborative work habits, use of innovation and creativity to solve problems, the capacity to imagine change and the willingness to work for it. Informal artists come from all walks of life and are largely representative of the pluralism of American society. They have high rates of participation in such civic activities as advocating for arts and community improvement causes, voting in elections and joining voluntary organizations.
• The informal and formal arts operate on a two way continuum, upon which, information, personnel, financial benefits and other resources flow back and forth. While some parts of the formal arts sector make available a variety of resources in the exchange, the informal arts create employment opportunities for professionally working artists, pay a “research and development” role, and provide knowledgeable and committed audiences for the formal arts sector. Individual artists, small and medium sized non-profit arts organizations, community-based groups and public and private non-arts institutions all play significant roles in forging these links.
• Data showed that artists practicing in informal settings frequently attend arts events at both formal and informal venues. 76% indicated that they were more inclined to attend performances because of their own participation in art making. However, researchers found limited recognition of informal arts as an important source of creative nurturance and as a market contributor on behalf of the formal arts.
• Factors that characterize informal arts practice and nurture and sustain diversity and participation:
• Common interest and intrinsic passion that participants have for making art and their willingness to go a long way to be involved;
• Flexible nature of participation, cost scaling and high degree of autonomy in practice support the informality that allows people to transgress normative patterns of interaction;
• Greater ease of access to physical spaces where informal arts practice occurs; locations not often associated with arts activity seems to increase people’s comfort about participating;
• Sociality of informal arts activity.
• Four interconnected factors that were found to nurture and sustain presence of diverse artists were:
  
  • common love of art;
  • aggressive recruiting strategies;
  • specific features of locations that increased visibility and approachability of arts activities;
  • inclusive nature of the activities: including welcoming participants of all skill and confidence levels, responding to artists’ needs as they defined them, and being flexible about attendance, scheduling and pricing

Diversifying Chicago’s Arts Audiences: A Progress Report
By The Arts Marketing Center of the Arts & Business Council of Chicago
Funded by the Joyce Foundation, the Woods Fund of Chicago and the Illinois Arts Council
Published 2000
Click here for a PDF of the study.

This progress report documents the stories, steps taken and lessons learned by six Chicago area arts organizations - Chicago Children’s Museum, Chicago Symphony Orchestra, Muntu Dance Theatre, Old Town School of Folk Music, The Dance Center of Columbia College Chicago and Victory Gardens Theater - related to their experiences with audience diversity. In addition to individual case studies, a helpful list of conclusions and best practices based on the studies sheds light on what to consider in diversifying audiences. The study was originally developed to provide an opportunity for community wide learning and to promote more effective audience development strategies and mentorship around audience diversification.

Key concepts in the study

• At its core, diversifying one’s audience simply means finding new people. However, this definition has evolved to specifically target individuals by racial background, ethnicity, age, geography, ability (income and education), and artistic discipline, due in part to business, arts and fund policies.
• Audience diversity is about the relationship of the art with the audience and how that relationship is formed and perpetuated.

Key findings of the study and best practices

• Most successful organizations have both a mission based commitment to diversifying audiences, as well as strategies and tactics that touch every internal department including diversifying staff and board to provide multiple points of view.
• Diversity needs a long term and consistent commitment and a champion; ways for ongoing participation need to be ensured. It is a long term investment and needs to pay off in earned income.
• Demographics are less definitive or predictive when it comes to arts interests and behavior; values have become more important.
• An organization needs to understand what its audience is and isn’t, and to be aware of the interplay between the existing audience and new audience.
• Recognition that diverse people are not homogeneous and price reflects value is critical.
• Language is key in communicating with diverse audiences. Whether choosing appropriate words in English or using another language, craft the message to appropriate fit the target audience.
• Begin with an end in mind. Goals need to be set and ways to track progress put in place.
• Keep one’s eye on changing local, metro and regional demographics as many communities are undergoing dramatic change.
• Relationship building is a key component to audience diversification.
  
  • Begin relationships with new audiences on their territory.
  • Recognize that “outreach” doesn’t accurately reflect the dynamics of building a relationship with new audiences; “community development” doesn’t necessarily build new audiences and could marginalize instead of engage.
  • Understand target audience’s image of the art form, role within its cultural tradition and of the organization.
  • Offer new audiences a way to continue participation.
  • Consider collaboration across artistic disciplines as an avenue for relationship building.
  • Consider what might be barriers to participation. Some ethnic groups do not feel welcome in downtown venues; the perceived expense of parking and dining might be barriers to attracting new audiences.
• In determining programming, examine relevance of the artistic product to target group(s). Provide a consistent or growing commitment using authentic sources when developing products specifically for diverse audiences.
• Develop an experience, not just a performance. Art reflects culture.

Case Studies

• Old Town School of Folk Music: Recognizing the changing complexion of Chicago, Old Town School reinvigorated itself and its commitment to diversity through a process that employed sound marketing and long range thinking.
• Victory Gardens Theater: Since its inception, Victory Gardens commitment to reflecting the city’s diversity has been a driving force no matter who was in the audience. Its journey has been more about diversifying programming and artists than the audience.
• Chicago Symphony Orchestra: Responding to the changing market environment and its impact on the CSO’s future, a community engagement initiative was developed as a mutually beneficial, multilevel exchange between the orchestra and communities. It was aimed at identifying needs, designing programs responsive to community needs and consistent with CSO’s mission, and enabling organizational change.
• Muntu Dance Theatre of Chicago: As a cultural specific organization with a strong African American audience base, Muntu sought to diverse its audience through methods targeting white audiences.
• The Dance Center of Columbia College Chicago: Building a model for ongoing diverse programming and engagement through the creation of DanceAfrica Chicago, which built a total life experience with dance as the catalyst.
• Chicago Children’s Museum: Chronicles growing up as an organization by embracing the promise and challenge of diversity through its programming, marketing and organizational structure.

Barriers and Motivations to Increased Arts Usage Among Medium and Light Users
Prepared by Deborah L. Obalil (The Arts Marketing Center of the Arts & Business Council of Chicago) based on work conducted by Michelle Taufman of Doyle Research Associates
Funded by the John D. and Catherine T. MacArthur Foundation, Sara Lee Foundation, WPWR-Channel 50 Foundation, Polk Bros. Foundation, Marshall Field’s, the Chicago Tribune, National Endowment for the Arts and Illinois Arts Council
Published March 1999
Click here for a PDF of the study.

With heavy users of the arts as the primary focus of much audience research, this study is aimed at gaining an understanding of the motivations for and barriers to higher levels of participation among medium and light users of the arts and to assess alternative ways to position the arts to more effectively attract them. It presents its findings and strategies by discipline – visual art, theatre, music and dance. In each discipline section, tactics for reducing identified barriers and tactics for leveraging benefits are suggested for both medium and light users. Medium users are defined as those who participate in the arts about 13 times a year (or 10% of their total leisure activities). Typically they participate in casual, self-guided activities; demographically they are more likely to be married, have children under 18, and earned less than $70,000 annually. Light users are casual arts consumers (only 5% of their leisure activities), primarily under 45, and more likely to have children under 6.

Key findings of the study

• The way that consumers determine value is key to understanding the finding of this study. In this study total value is equal to the total benefit minus the total cost. Total benefit is the sum of all the elements of the arts experience that consumers find positive. Total cost includes not only ticket/admission price, but also time, effort and other money spent to participate. To increase total value, an organization can either increase the total benefits or decrease the total cost.
• Overall observations concerning medium users:
  
  • Perceived benefits of arts participation are similar across disciplines and main ethnic groups (Caucasian, Latino and African American) studied; differences were more in the priority of benefits rather than the actual benefits.
  • Medium users are thoughtful about their arts experiences; see it as a form of self-improvement, as well as enjoyment, and are very involved with their encounters.
  • Benefits that motivate buying are: stimulation (emotional and intellectual); freedom/escape from daily concerns and the mundane; and exposure and discovery to new interests, the unexpected and broader world view.
  • Benefits that enhance the experience, but are not actively sought are: connection to others, a community, and cultures; expression and sharing with others; and validation and status attainment – a way to express their values outwardly.
  • Barriers included time and money. However, this is influenced by the presence of young children at home, which decreases the amount of perceived leisure time and disposable income. Other barriers include unfamiliarity with particular venue or neighborhood, particular artistic offerings or generally lower awareness of the breadth of options available.
  • Two areas that organizations could address to encourage audience development are to increase the value and cost ratio and to more precisely target information on arts offerings.
• Overall observations concerning light users:
  
  • Light users are more “consumer-like” in their approach to the arts and are seeking easy, fun entertainment from leisure time activities. The arts are viewed as time and effort intensive activity, in planning and execution.
  • Motivations are occasion driven, including celebration of special occasions and “must see” blockbusters. Blockbusters provide safety of choice, prestige, and accessibility. They are usually appropriate for children that provide an enriching experience outside the home to be shared by the entire family; light users are generally less likely to leave home for leisure activities.
  • Barriers to light users’ participation includes: belief that their current level of involvement is fine; arts are a “big deal” and involve significant planning and expense; and that the arts require quiet focus with little talking, socializing, or relaxing associated with it which is preferred for leisure time activities. Also, do not view less expensive off-Loop activities as a viable option and feel “obvious” as outsiders to the regular arts-going crowd.
  • To increase participation of light users, organizations might offer opportunities for relaxed social interaction, i.e. festival or ways to make it easier to take part by making the entire experience as simple and hassle free as possible. While these efforts may reduce barriers, they don’t necessarily increase motivation.
• Common ground for both medium and light users is the importance of exposing their children to a wide range of arts experiences. One difference between medium and light users in this regard is that medium users see the experience as benefiting their children and themselves, while light users only see it as benefiting their children. This is particularly strong among Latino and African American participants as they see it not only improving their children’s lives, but also advancing their race beyond cultural stereotypes.
• The visual arts have the greatest potential to increase participation among medium and light users.
  
  • Benefits that medium users see to visual arts activities are intellectual stimulation, connection to artists, casual environment and escape.
  • Light users motivations are influenced by family and casual activity and the social cachet of “must see” events.
  • Barriers are similar to both groups and include: perception that content doesn’t change over time; unfamiliarity with the specific artists/exhibits and location; perception that it takes an entire day to see everything; and the perception that art museums are more formal than other museums.
  • For African American and Latino users there is an increased motivation with direct connection to their cultural heritage, as pride is as important as entertainment.
• For theatre there is a discrete difference in the way medium and light users view it.
  
  • Light users view anything occurring within a theatre-like structure to be theatre (including symphonic music). Medium users view theatre as a distinct art form.
  • Barriers to attendance for both groups is similar: need for planning; “you get what you pay for” perception, unfamiliar content and location/venue. The difference is that with medium users these barriers by addressing these barriers, increased participation might result, while with light users, these barriers can not be addressed in any realistic way.
  • Common motivators for both are emotional stimulation and escapism.
  • Both light and medium users view larger venues as appropriate for a special occasion and complete a “night out” experience. Smaller theaters offer additional benefits to medium users including a broader sense of freedom, intensified emotional stimulation as the result of an intimate setting, intellectual stimulation and lower cost.
  • As a group, African American and Latino users are more likely to attend theatre that is based on stories from their cultural histories. Like the visual arts, the arts are as much about ethnic pride as entertainment.
• Music is viewed as the most formal art form.
  
  • Unique barrier to music participation is that consumers need to be educated to the added benefit from attending a live performance versus listening to a recording.
  • The key difference between trying to attract medium and light users is that medium users are open to new experiences, whereas light users are not.
  • Common barriers to both groups are unfamiliar content and/or venue/location, formality, and no “top of mind” awareness. Additionally light users are stopped by the inconvenience of leaving home, price of live vs. recorded, and the perception of elitism.
  • Perceived benefits for medium users are emotional stimulation, connection to musicians, composers, etc. and appropriateness as a family activity. Light user motivations include safety of choice, cultural connection, and accessibility.
  • Ethnic group participation is increased and motivated with a direct connection to their cultural background.
• There is little room for audience development for dance as the majority of its audiences are already heavy users. However, the natural extension of audience for dance lies with the medium users, as they view the arts in a similar light to heavy users. The best possibility for audience development lies with heavy users in other arts disciplines. Light users are not a feasible target.
  
  • Barriers to increased dance participation among medium users include a fear of content, general lack of information, lower disposable income and young children at home. Motivations to attend include emotional and intellectual stimulation and escape.
• Like other arts disciplines, African American and Latino medium users are strongly motivated to attend performance that offer a direct cultural connection to their own background.
• See additional pages (BarriersMotivationsTactics – excel sheet) for specific tactics to address barriers and benefits.

Expanding the Market for the Arts in Metro Chicago
By Dona Vitale (Strategic Focus, Inc.) from data provided by Bobby Calder and Northwestern University research team
Prepared for The Arts Marketing Center of the Arts & Business Council of Chicago
Funded by the John D. and Catherine T. MacArthur Foundation and Sara Lee Foundation
Published April 1996
Click here for a PDF of the study.

This study provides insight into the Chicago market for the arts and is aimed to guide development of strategies for how, if at all, the market for the arts could be expanded. The report and analysis by Dona Vitale was based on a survey under the direction of Bobby Calder, professor at Northwestern University that was administered to 3,000 people living in the 17 county greater Chicago metro area asking about participation in arts events and other leisure time activities. Particular attention was paid to the identification of the market structure for the arts in general and assessment of the existing market and potential for expansion of four particular arts forms – art museums, theater, classical music, and dance.

Key findings of the study

• Primary market for all forms of art in the region consists of 40% of the total population or roughly around 2.6 million people. An additional 30% represents a secondary market, particularly for activities that are non-performance based.
• People who actively participate in the arts are also active in many other leisure activities.
• Arts activities with the widest appeal tend to be those that can be experienced independently, rather than on a fixed schedule. Arts and crafts fairs, historical attractions, jazz performances, dinner theatre and art galleries attract a mix of individuals from very active to least active in the arts. Non-ballet dance, art museums, musical theatre and classical music attract some non-active individuals, but mostly draw from the primary market. Opera and ballet are dependent on the primary market.
• Issues and concerns related to development, retention and expansion of audience were similar regardless of discipline.
• To define the experience of participating in the art in a way that is consistent with both the artistic vision of artist and expectations and needs of the audience is a major challenge. The perceived value of participation is high when audience members feel that they have received sufficient benefit from the art to offset any costs (financial and otherwise) associated with participation. Each arts organization needs to make a serious effort to understand expected benefits and what obstacles get in the way of attendance.
• Logistical barriers may be removed with attention in the following areas: improved communication about the many arts offerings available at any given time through a variety of avenues including new media and centralized information systems; ticket buying made easier or less expensive; and enhancing and simplifying the act of attendance through bundling of several services into one experience.
• Individual arts organizations and umbrella organizations that deal with the arts need to find appropriate balance between the need to market their art in general and need to market the individual organization versus its same-art and different-art competitors. This category versus brand conflict is one that exists in every marketing situation, but may be particularly confusing in the arts.
• On average, Chicago area residents estimated that they had about 26 hours of free time a week. Activities more frequently engaged in than arts participation were going out to a bar, nightclub, restaurant, or comedy club; buying lottery tickets; visiting a bookstore or library; entertaining or being entertained by friends and visiting a shopping mall as an outing. Falling less frequently than arts participation was playing or attending a college or professional sports event; attending religious services; renting movies at home or visiting a casino or race track. Chicagoans spend considerable time with broadcast and print media, an average of 46 hours a week.
• Most active arts participants are affluent, on-the-go people. 41% are aged 45 to 64, are the best educated; have annual incomes of $70,000 or more; 60% are democratic and 30% are African American.
• Somewhat active arts participants (13 times a year) are less affluent and more family oriented. Most likely to visit art fairs, galleries and history museums.
• Inactive include 30% of total population. These individuals tend to be younger (under 45); married; tied down with home and family responsibilities; and are at a socio economic level below that of the general population.
• Study defines six population segments: loyal core (frequent and favorable) – 50%; critical core (frequent and less favorable) – 25%; occasional fans (one-time, favorable); casual drop-ins (one-time and less favorable); favorable prospects (don’t participate, but favorable) – 20% to 25% toward each art form; low potential mass (don’t participate and have unfavorable attitudes).
• Marketing factors for museums to consider:
  
  • 36% of the population visited an art museum at least once during the year;
  • 70% had attended college, 58% had incomes over $40,000, 56% were female, 46% were married, and 33% had children;
  • Individual favorably inclined toward museums put rate educational value and own enjoyment as important; in this context museums are a good value.
  • Strategies for directing participation are to reinforce favorable attitudes and frequent visits of the loyal core; motivate occasional fans to come more often; induce favorable prospects to transform their interest into action through greater motivation; and make visits easier and more spontaneous for other segments for the critical core and casual drop-in segments.
• Marketing factors for theaters to consider:
  
  • 25% of the population attended theatre, half of which went once with the remainder going an average of 3.4 times. Theater goers are often participants in other arts activities.
  • 75% had attended college, 27% had incomes over $70,000, 45% are 45 or older, and 21% are African-American.
  • Strategies for directing participation are to reinforce positive opinions and experiences of the loyal core and occasional fans; address the below average enjoyment that the critical core has about the theater, even with surprisingly high attendance, before this group is lost; and expand the audience by targeting favorable prospects and casual drop-ins with measures that change their perceptions about the ease and value of theater going.
• Marketing factors for classical music organizations to consider:
  
  • 21% of population attended classical music performances, half of which attended one performance with the remainder going an average of 4.4 times. Classical music attendees are very active participants in other art forms.
  • 80% had attended college, 75% are 25 to 64, 31% earn over $75,000 annually, and 80% are white. Most frequent attendees are over 45.
  • Target segments with strong potential are the loyal core, occasional fans, critical core and favorable prospects.
• Marketing factors for dance and ballet organizations to consider:
  
  • 7% of the population attended the ballet and 18% went to dance performances.
  • The audience is heavily female, very active in other art forms, well educated (83% attended college) and 48% are over 45 years old.
  • Dance audiences are the most diverse with African Americans making up 30% of the combined ballet and dance audience. Additionally Hispanics are 16% of all dance audiences compared to 10% of the overall population.
• African Americans who participate in the above four disciplines are more likely to be over age 40, middle income ($20,000 to $80,000), better educated, and almost all live in Cook County.
• Hispanics attended art museums at a rate of almost 50% which is considerably higher than the general population. Only 17% attend theater and 28% attend classical music concerts. Theater and art museum attendees tend to be more heavily female and under the age of 40.