Bowled over

It’s over a quarter of a century since the first arts marketing consortium, Cardiff Arts Marketing, was set up. In those days the thought of organisations joining forces to develop audiences together was a novelty. Since then the UK network of audience development agencies has grown steadily, textbooks, case studies and articles on developing audiences have multiplied, and funding initiatives have proliferated. New audiences, family audiences, young audiences, and in some cases any audiences are a continuing topic for debate. Many arts organisations are already adept at keeping up with the times and tailoring products to attract a wider audience. The success of family-friendly programmes, festivals and site-specific work are all examples of this. A recent snapshot survey of February 2009 half term attendances at museums, galleries and science centres showed a combined increase. But, while we can all point to individual success stories and short-term trends, it is arguable that there has been a lack of real change when it comes to the makeup and volume of audiences for the arts nationally.
Stumped
Looking at the world of cricket, we find a different and instructive story. Until very recently, since the first official Test match in 1877, the traditional form of cricket played in white clothing over a number of days was the accepted form of the game. Matches lasting four days at County level and Test matches lasting for up to five days were accepted for decades by stalwart England supporters and County members as ‘the real thing’. In the 1970s, One Day International competition was introduced, and the Australian tycoon Kerry Packer established a controversial rival World Series cricket competition. With its coloured uniforms, floodlit matches, replay screens and dancing girls it was the complete antithesis of the traditional game. Whilst attendances at key International Test Matches were holding up well, the game at County level was facing a crisis. Membership levels were dwindling and there was no domestic competition played at the right time of day to attract working families. In short, the image of cricket was the opposite of cool, while attendance for other sports such as rugby and football were flourishing.
Hooking and pulling
In response to this, the English and Wales Cricket Board (ECB) began to think the unthinkable: perhaps Packer had had some good ideas after all. The ECB’s pathway ‘From Playground to Test Arena’ demanded a programme that attracted participants and spectators from all walks of life. It also needed to provide sporting heroes, whom all future England cricketers could aspire to be like. Would it be possible to invent something new? A taster product that would entice younger audiences and families? Something that would be attractive to television producers and viewers? Could this be done without alienating the purists? Most importantly, would it pay?
In 2001 the ECB commissioned a programme of desk and qualitative research to test out possible concepts. The results were digested and analysed with further quantitative research in January 2002. A new concept emerged, eventually to be called the Twenty20. This game was to be completed in about two and a half hours, in coloured clothing and played in the long summer evenings and at weekends – a far cry from the four and five days of tradition. The 18 First Class Counties were asked to approve this new concept. Doubts were expressed, and only after much soul-searching did the idea receive approval by a narrow majority in April 2002. The product was launched through County roadshows later that spring, and the first match took place on 13 June 2003, at the Rose Bowl: Hampshire vs Sussex. 

Positive spin
All this took place in the teeth of extremely fierce opposition from traditionalists. There were accusations of dumbing down, alienating the core audience and cheapening the game. Interestingly, the players themselves were doubtful about its potential, and in many cases did not take the first year’s competition at all seriously.
However, the Twenty20 was not intended to replace other forms of cricket. It has continued alongside the traditional game, and players now see this Twenty20 as particularly exciting because it is often played in front of full houses. To say Twenty20 has succeeded in developing audiences for cricket is an understatement. It has attracted more audiences, new audiences, young audiences and family audiences. Gate receipts for County cricket have more than doubled since the competition’s inception and it has succeeded in rebranding cricket as contemporary and cool. It has regenerated the sport in the eyes of the media, bringing new audiences to the sport and creating new media heroes. Ancillary sales of kit, videos and video games, have mushroomed at County grounds and online. These increased revenues have gone back into helping the flagging finances of the traditional form of the game.
Off the field
What, then, are the ingredients of the Twenty20 product, and what might the arts learn from this initiative that took just two years to roll out? The most important lesson lies in the recognition, at national level, that collective action was required to solve a collective problem. Persuading key people to commit and overcoming vested interests were critical. It was a well-fashioned, methodically researched concept coupled with detailed consultation with all vested interests – consumers, players, administrators and media. Investing in concept development and refinement was also key. Then it was time to be brave, visionary and bold. The result was a cricketing experience that changed the concept of the game and brought in thousands of new participants and spectators. Despite their protestations, it has left the traditionalists continuing to enjoy their four- and five-day games. Most importantly of all, cricket’s finances at grassroots level, where the future cricketers are born, is funded in a way it would never have been without Twenty20.
So here’s the challenge for the arts. Imagine something on a national scale that goes to the heart of what we do. Our major orchestras coming together to produce their own ‘Intro’ series around the country. Our national network of audience development agencies researching and testing a concept that is truly consumer-led. Or instead of a dash to dish out free tickets, the creative brains behind our regional theatres coming up with a Twenty20 of their own. We know we can do it – just remember the impact of BBC Music Live – and with 2012 on the horizon, perhaps now the time is right.