Data issues – The thirst for knowledge

Audience data can inform and shape the policy and activities of arts organisations, though its value frequently goes unrecognised. A new study by Kieran Cooper and Beth Aplin has examined why, and suggests what needs to be done to enable arts managers to make the most of the data available to them.
Successful arts organisations are always in touch with their environment and try to tailor their activities to take account of it. However, the information available to them to inform their decision-making processes is often anecdotal and subjective and can present an incomplete picture of the situation. The advent of computerised box office systems and other technological advances has made it possible for them to be much more exacting in their approach. It has also meant that those who need to see bigger pictures, such as funders and agencies, can have access to hard data – particularly data about how audiences behave.

Such audience data could be used alongside other market intelligence, experience and that all important gut reaction, to inform many day-to-day decisions; yet organisations often struggle to make best use of it. The computerised systems are seen as too confusing and difficult to use; organisations have lacked an understanding of what they might potentially stand to gain from their data; and there has been little training in techniques to make use of what is available. There is much to be gained by changing this.

Addressing underlying problems

With this in mind, audience development officers of Arts Council England, the Scottish Arts Council and the Arts Council of Wales commissioned Catalyst Arts to conduct a major study to investigate how organisations could be encouraged to take better advantage of the available technology. The consultation revealed a number of key problems, notably that audience data is frequently pigeon-holed as a ‘marketing’ concern, and its use for tasks such as business planning or programming is often overlooked. The study’s proposals fall into four main areas:

• Standards, protocols and guides to good practice

Because of their different needs and situations, when arts organisations work together to analyse data, the task tends to present some complex problems. A common understanding of certain key concepts across the sector would go some way towards solving these. For example, what exactly is a catchment area?, and how should different arts events be classified? A need for a general classification system that could be used universally across artforms, and which forms the basis of more detailed systems at organisational or artform level, seems most appropriate. More guidance is needed to help arts managers undertake specific tasks with data, as well as case histories demonstrating best practice. Another step forward could be taken if the Arts Councils adopt a policy relating to data ownership. This could solve a number of problems, especially those experienced by organisations without box offices of their own.

• Benchmarking system

The development of a benchmarking system, probably Internet-based, would enable organisations to see how well they are performing in comparison with others, grouped by, for example, artform, scale, or geography. Organisations could enter high-level sales and management information into the system, and because only those that contribute data would be able to see the benchmarks, there is scope for the system to function outside the usual boundaries of funding relationships. This would enable the benchmarks to be very wide-ranging.

• One-stop resource

An ‘anti-wheel-reinvention’ mechanism is another priority. A website of audience research would need to take stock of existing research, as well as share the perspective of those with experience of using it. It could also provide good practice guides, case histories, standards and protocols.

• Skills development and advocacy

Overall, the biggest need is for training both in how to use data and also why it might be useful. A key issue in training and skills development is a lack of consistency between organisations and practitioners.
A set of standardised training courses made available to existing training providers around the country would enable the sector to develop a consistent level of knowledge. By establishing some key projects, concepts could be demonstrated in practice. Showing organisations what can be achieved is undoubtedly the best way to make them interested in using data for themselves.

Data in perspective

The idea of running an organisation by numbers is clearly ridiculous. Data is only a means to an end; a way of supporting decisions and a tool for grounding what an organisation does in a thorough understanding of the environment in which it works. These proposals have the potential to change the overall picture quite considerably, both for those who currently use audience data frequently and for those who, as yet, have only scratched the surface of what is available. In commissioning this study the Arts Councils have already made a commitment to a programme of action. They now plan to start work on some of the recommendations and are building up a long-term strategy for the future.

Beth Aplin and Kieran Cooper are Directors of the consultancy Catalyst Arts. t: 01225 340340 e: [email protected]. The Catalyst Arts data report and the response from the Arts Councils will be available at http://www.catalystarts.com