SUMMARY REPORT
12 Local Surveys of
Public Participation in the Arts
A study of the relationship between arts participation levels and the
supply of local arts programs and facilities in twelve diverse
communities across the U.S.
Prepared by
AMS Planning & Research Corp
Research Division Report #26
NATIONAL ENDOWMENT FOR THE ARTS
12 Local Surveys of Arts Participation Summary Report
Research Commissioned and Funded by the
National Endowment for the Arts
Research Division
Office of Planning, Research, and Budget Coordination
Washington DC 20506
and Local Area Partners:
City of Sedona and the Sedona Cultural Coalition
City of San Jose Department of Convention & Cultural Affairs
Broward County Cultural Affairs Council
Metropolitan Dade County Cultural Affairs Council
John D. and Catherine T. MacArthur Foundation
Nevada State Council on the Arts
Arts Council of Winston- Salem/Forsyth County
Greater Philadelphia Cultural Alliance
Pittsburgh Cultural Trust
Seattle Arts Commission
This report was prepared by
AMS Planning & Research Corp., of Fairfield, CT
with assistance from Paul DiMaggio
Library of Congress Catalog Card Number 93-0845 1 5
12 Local Surveys of Arts Participation
Summary Report
CONTENTS -
I. Executive Summary 1
II. Arts Participation in 12 Local Areas 17
A. Pittsburgh/Allegheny County, PA 20
B. Las Vegas, NV 24
C. Reno, NV 28
D. Rural Nevada 32
E. Sedona, AZ 36
F. Winston Salem/Forsyth County, NC 40
G. Seattle/King County, WA 44
H. Chicago Area 48
I. Philadelphia Area 52
J. Broward County, FL 57
K. Dade County, FL 63
L. Santa Clara County, CA 66
III. Special Topics 70
A. Factors Related to Arts Participation 70
B. Cross-Discipline Participation Rates 71
C. Frequency of Participation Data 72
D. Utilization of Venues by Discipline 75
E. Utilization of Venues by Demographic Characteristics 77
F. Sources of Information About Arts Events 77
G. Reasons for Not Attending More Often 79
IV. Methodology 83
A. Survey Research Methodology 83
B. Methodology for Research on Local Supply of Arts Activity 85
C. Summary of Methodologies for the 1982, 1985 and 1992 SPPA's 86
D. Methodological Comparisons and Possible Sources of Bias 87
E. Uses of the Data 90
V. Appendix 91
A. Data Tables 92
B. Sampling Error 93
C. Methodological Comparisons Between Local and National Surveys 98
D. Survey Design Comparisons: 12 Local Surveys vs. National SPPA's 101
E. Survey Form 105
F. Bibliography: Public Participation in the Arts 106
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12 Local Surveys of Arts Participation Summary Report
I. EXECUTIVE SUMMARY
This report summarizes the results of a research project commissioned by the Research Division of
the National Endowment for the Arts to examine arts participation patterns in 12 communities across
the U.S. The research involved two major components: the administration of an arts participation
survey to randomly selected households in each area and research into the supply of local arts
programs and facilities. Survey results for each site were then analyzed in the context of local arts
activity levels, uncovering a rich and varied texture behind the statistics.
The Research Division of the Arts Endowment contracted Abt Associates Inc. of Cambridge, MA to
coordinate and facilitate the survey. A local sponsor in each area assisted in funding the research and
helped to design sections of their local questionnaire. After 18 months of planning, the surveys were
conducted by telephone over a three-month period from mid-February to mid-May 1992. In the fall
of 1992, after survey results had been tabulated, each local sponsor received a preliminary report
from Abt Associates as well as a computer file with their local data. At that time, the Arts
Endowment contracted AMS Planning & Research Corp. of Southport, CT to conduct
complementary research into local arts activity levels and to prepare this summary report.
The 12 Local Surveys were undertaken to build a better understanding of variations in arts
participation patterns between different communities and to provide local sponsors with valuable
information about their areas. With respect to design, the 12 Local Surveys were intended to
complement the 1992 national Survey of Public Participation in the Arts (SPPA) conducted by the
U.S. Census Bureau. Each local survey consisted of three components:
• A "Core Questionnaire", common to all 12 sites, including arts participation and demographic
information identical to the 1992 national SPPA
• A set of questions, common to all sites but not included in the 1992 national SPPA, concerning
facilities where arts participation occurred, reasons for not attending more often, and sources of
information about arts events.
• Community-specific modules, developed by the local partners to address specific information
needs in each community.
The following table presents a listing of the 12 communities studied, definitions of the geographies
surveyed, and the local sponsors.
Digitized by the Internet Archive
in 2012 with funding from
Boston Library Consortium Member Libraries
http://archive.org/details/summaryreport12IOOamsp
12 Local Surveys of Arts Participation
Summary Report
PARTICIPATING COMMUNITIES
Participating
Community
Geography Surveyed &
1992 Est. Population
Local Sponsor(s)
Pittsburgh, PA
Allegheny County, PA -
Population 1 .34 million
Pittsburgh Cultural Trust
Las Vegas, NV
ZIP Codes in the Las Vegas area -
Population 755,000
Nevada State Council on the Arts
Reno, NV
ZIP Codes in the Reno/Sparks area -
Population 248,000
Nevada State Council on the Arts
Rural Nevada
All remaining ZIP Codes in Nevada -
Population 147,000
Nevada State Council on the Arts
Sedona, AZ
Arizona (Area Code 602) telephone
exchanges of 282, 284, and 204 -
Population 15,500 (City of Sedona)
The City of Sedona
Winston-Salem, NC
Forsyth County, NC -
Population 271,000
Arts Council Winston-Salem/
Forsyth County
Seattle, WA
King County, WA -
Population 1.55 million
Seattle Arts Commission
Chicago Area
Cook, Kane, DuPage, Lake, McHenry,
and Will counties in Illinois -
Population 7.26 million
John D. and Catherine T. MacArthur
Foundation
Philadelphia Area
Philadelphia Metropolitan Statistical
Area (MSA), including parts of NJ -
Population 4.93 million
Greater Philadelphia Cultural
Alliance
Broward County, FL
Broward County, FL -
Population 1 .29 million
Broward County Cultural Affairs
Council
Dade County, FL
Dade County, FL -
Population 1.99 million
Metropolitan Dade County Cultural
Affairs Council
San Jose, CA
Santa Clara County, CA (excluding
telephone exchanges in the Gilroy area) -
Population 1 .54 million
City of San Jose Dep't of
Convention and Cultural Affairs,
Santa Clara County Arts Comm.
Survey Sampling Methodology
Using a list-assisted random digit dialing telephone survey approach, households were sampled in
each of the sites until the goal of approximately 400 interviews was achieved. A stratified sampling
approach was taken for several of the sites. For example, respondents for the Pittsburgh/ Allegheny
County site were drawn equally from within the city limits of Pittsburgh and from the remainder of
Allegheny County, so that participation in the two areas could be compared. In Dade County,
telephone exchanges with a high percent minority population were over-sampled to facilitate
comparisons between minority and non-minority participation. Similarly, for the Philadelphia site,
an additional 200 interviews were completed in areas of the city with high percent minority
populations. Spanish-speaking interviewers were used, as needed, to conduct interviews for three
sites: Dade County, Broward County, and San Jose/Santa Clara County.
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12 Local Surveys of Arts Participation
Summary Report
For each household sampled, the person over 18 who had the most recent birthday was the eligible
respondent. Up to 6 attempts were made to obtain an answered call for each residential number
dialed. Response rates ranged from 40% in Dade County to 52% for Rural Nevada. On average,
survey administration took 17 minutes.
Survey results were weighted to compensate for the number of adults (18+) in the household and to
bring the weighted sample distribution into closer agreement with the actual population of each site
with respect to age, race, gender, and household income. Weighted percentages are used in the tables
throughout this report. Table 1 (highlights), below, summarizes participation rates for the eight
"core" disciplines (seven performing arts disciplines plus 'Art Museums/Galleries'), plus several other
categories.
ARTS PARTICIPATION RATES BY SITE
12 Local Surveys of Public Participation In the Arts
(Weighted Percentages)
Table 1
(highlights)
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Jazz
14%
15%
10%
7%
19%
13%
16%
16%
12%
20%
14%
19%
15%
20%
6%
27%
20%
7%
10%
42%
62%
49%
73%
44%
73%
Classical Music
20%
9%
18%
10%
17%
19%
20%
20%
19%
23%
12%
21%
Opera
5%
3%
9%
2%
4%
4%
7%
5%
7%
12%
7%
8%
Musicals
25%
20%
19%
12%
24%
17%
26%
32%
24%
34%
20%
30%
Plays
18%
16%
15%
12%
25%
22%
29%
21%
18%
21%
15%
21%
Ballet
7%
7%
7%
8%
3%
7%
13%
5%
5%
13%
10%
9%
Other Dance
8%
11%
12%
10%
13%
9%
13%
10%
11%
9%
12%
9%
Art Museum/Gallery
38%
39%
41%
39%
77%
32%
52%
42%
44%
41%
35%
44%
Any of 8 "Core " Disciplines
57%
59%
56%
52%
82%
50%
69%
63%
63%
65%
52%
67%
Arts/Crafts Fair or Festival
55%
50%
62%
56%
57%
45%
55%
49%
42%
61%
45%
54%
Movie Theater
72%
67%
68%
63%
84%
65%
78%
77%
70%
75%
63%
78%
Historic Park/Monument
41%
36%
50%
42%
60%
46%
44%
44%
47%
40%
41%
51%
Read Books for Pleasure
60%
71%
76%
74%
82%
69%
82%
75%
75%
75%
62%
74%
Highlights of Survey Results
• Of the 8 "core" disciplines studied, 'Art Museums/Galleries' attracted the highest participation at
every site. Rates ranged from 32% (Winston-Salem) to 77% (Sedona), with a 12-site average of
42%.
• 'Musicals' attracted the broadest audiences among the performing arts disciplines studied, with
participation rates ranging from 12% (Rural Nevada) to 34% (Broward County) and a 12-site
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12 Local Surveys of Arts Participation Summary Report
average of 27%. This finding is generally consistent with data from the 1982 and 1985 national
surveys.
• Both 'Classical Music' and Plays' had average participation rates of 20% across all sites.
Broward County had the highest 'Classical Music' participation rate (23%), while Seattle had the
highest participation rate for Plays' (29%).
• Relative to the other disciplines studied, both 'Opera' and 'Ballet' had lower participation rates
across all sites (6% and 7% average rates, respectively). Large urban areas did not always have
higher rates in these categories. For example, Rural Nevada's 'Ballet' participation rate of 8%
was higher than Philadelphia's 5% rate. Also, Reno's 9% 'Opera' participation rate exceeded
Chicago's 5% rate.
• 'Other Dance', a new category for the 1992 SPPA that includes modern, folk and tap dance, had
average participation of 10% across all sites and the smallest variation between sites of any
discipline, ranging from 8% (Pittsburgh) to 13% (Seattle and Sedona). Participation rates for
'Other Dance' exceeded rates for 'Ballet' for all sites except two. In Broward County, 'Ballet'
participation (13%) was higher than 'Other Dance' (9%), and for Santa Clara County, the two
rates were equal (9%).
• Overall, Sedona respondents were most likely to participate in any of the 8 "core" disciplines
(82%), followed by Seattle/King County (69%) and San Jose/Santa Clara County (67%), in
contrast to Winston-Salem/Forsyth County (50%, the lowest rate of the 12 sites studied).
• Among the three Nevada sites, several interesting differences emerged. While Reno and Las
Vegas closely resemble each other in most categories, Reno's 18% participation rate for 'Classical
Music' is twice the figure for Las Vegas, while jazz attendance is significantly higher for Las
Vegas (15%) compared to both Reno (10%) and Rural Nevada (7%, lowest of all 12 sites). The
gaming industry, which floods the Las Vegas and Reno markets with popular entertainment,
seems to have little effect on arts participation rates among local residents, at least among the
disciplines studied.
• Despite their geographical proximity, Broward and Dade Counties have very different arts
participation rates, with significantly higher participation rates observed for Broward County,
with the exception of 'Other Dance'. The cultural diversity of Dade County is reflected in a high
level of arts activity outside of the European-based performing arts disciplines (i.e., 'Classical
Music', 'Opera', and 'Ballet', etc.) which were surveyed. While Dade County's participation rates
for the "traditional" disciplines may be lower relative to other sites, participation in other
disciplines such as 'Ethnic Music' may be higher, although no data are available to confirm this.
In addition to arts participation rates, a wealth of data was collected on related topics such as
frequency of attendance, types of facilities attended, sources of arts information, and reasons for not
attending more often. Among the most interesting findings from these data are:
12 Local Surveys of Arts Participation Summary Report
Frequency of Attendance and Number of Disciplines Attended
• Over 75% of all participators attended a given discipline three or fewer times. Only 8% of
participators reported attending more than six performances of a given discipline over the
preceding 12-month period.
• Of the 77% of Sedona respondents who reported visiting an art museum or gallery, the average
frequency of attendance was 3.95 times, much higher than the average for all sites (2.62 times).
Conversely, Rural Nevada respondents reported lower participation rates in most disciplines, and
those who did attend did so less frequently than their counterparts in other sites.
• As frequency of participation increases, respondents tend to fall into higher age, income, and
education brackets. Education levels, particularly, rise consistently with more frequent
attendance.
• Respondents with incomes over $100,000 were more than three times as likely to attend four or
more different disciplines as they were to attend only one discipline.
Venue Utilization
• "Traditional" venue types (i.e., concert halls, theaters, etc.) were used almost exclusively for
'Opera' (95%) and 'Ballet' (90%); the involved technical demands of these types of productions
and the limited technical capabilities of alternative venue types may account for this trend.
• About 10% of all classical music attenders reported attending a 'Church or Synagogue',
underscoring the important role of these facilities in the performing arts delivery system.
• Hispanic respondents were about three times more likely to utilize 'Civic Centers' (14%) than
African- American respondents (4%) and White respondents (5%).
• African- American and Hispanic respondents used concert halls and opera houses less frequently
than Whites.
Sources of Arts Information
• An overwhelming majority of respondents get information about arts events through the media
(84%, includes 'Newspapers', Television', 'Radio', and 'Magazines'). Much smaller percentages
obtain information through "Word of Mouth' (24%), 'Targeted Appeal' (16%), and 'Other' (15%).
• Respondents between the ages of 30 and 59 tend to get arts information from 'Newspapers'.
• Respondents aged 60 and over are more likely to receive arts information from 'Mailings/Flyers'.
• As education levels rise, so does usage of the media for arts information. Also, the most highly
educated respondents (and also the most wealthy) are much more likely to get arts information
from 'Mailings/Flyers'.
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12 Local Surveys of Arts Participation Summary Report
Reasons for Not Attending More Often
• Among those who would like to attend more often, 61 % cited one reason - 'Don't have time'.
This response overshadows all other reasons by a factor of three. The next two most frequently
cited reasons relate to cost - 'Overall cost of going to event' (20%) and 'Cost of tickets' (19%).
Ten percent or fewer of respondents cited any other reasons. These findings are generally
consistent with results of the 1982 and 1985 SPPAs.
• Cost factors were cited by Seattle respondents more frequently than by those at any other site.
• Problems related to age/health' were cited by 12% of Broward County respondents (compared to
a 6% average for all 12 sites); these respondents also have the highest average age (50) of the 12
survey sites.
• 'Crime/fear of crime' was the most important reason for not attending more often for 1 1 % of
Dade County respondents and for 7% of Broward County respondents, whereas this issue was
not an important in other survey sites.
• 'Social/personal barriers' (especially 'No one to go with') were reported to be important reasons
for not attending more often for Pittsburgh and San Jose/Santa Clara County respondents, in
contrast to the other 10 survey sites. According to demographic data, these two areas have a high
proportion of single households.
Research on Local "Supply" of Arts Facilities and Programs
AMS contacted each local sponsor to determine the extent of existing information regarding cultural
facilities and programs. In some cases, sponsors were able to provide complete information on
numbers of performances, cultural attractions, and types of performance facilities from existing
directories, periodic cultural calendars, and/or annual reports; in other cases sponsors indicated that
no data existed. A combination of approaches was utilized to obtain data as required including phone
calls to secondary contacts (e.g., arts service organizations, city and state arts councils, etc.).
Because of the lack of systematic data collection at the local level, the amount and quality of
information relating to the supply of arts facilities and programs varies from site to site.
Relationships between "Supply" and "Demand"
Arts participation patterns in the 12 sites are a study in diversity and contrast. Relationships between
the "supply" of arts programming and "demand" for programming (i.e., participation rates) in a
particular community must at this time be regarded as inconclusive. Nonetheless, this research effort
uncovered many interesting insights that contribute to a better understanding of the factors which
influence arts participation. In some cases, participation rates in certain cities seem to be linked with
a particular arts institution or even a particular production. For example, Sedona's popular Jazz on
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12 Local Surveys of Arts Participation Summary Report
the Rocks festival clearly impacts the area's jazz participation rate, a conclusion corroborated by the
finding that 36% of jazz attenders in Sedona reported attending a 'Park or Other Open- Air Facility'.
In fact, large scale festivals (particularly free events) appear to contribute substantially to some arts
participation rates. Another example of this relationship is Pittsburgh's Three Rivers Arts Festival, a
17-day annual event drawing over 600,000 to free events in the downtown area. The Festival helps
to explain the area's high participation rate for 'Arts/Craft Fairs or Festivals' (55%).
More often, a broad supply of programming from both large and small institutions coupled with the
availability of performance facilities, support high participation rates for a given discipline.
Seattle/King County's 29% participation rate for Tlays' (ranks highest of 12 sites), is an excellent
example. Even though several larger companies such as Seattle Repertory Theatre serve a broad
constituency, nearly 50 small and experimental theatre ensembles provide a wide variety of
traditional and alternative productions in smaller venues throughout the city. In this case,
demographic factors also support high theatre participation, notably a younger population with high
education levels.
In one case, the opening of a large new facility appeared to have a positive influence on participation
rates across several disciplines. Despite recording the highest participation rates for 'Classical Music'
(23%), 'Opera' (12%) and 'Ballet' (13%), Broward County's supply of arts activity did not seem
extraordinary in relation to other sites. Local research points to the 1990 opening of the Broward
Center for the Performing Arts in Ft. Lauderdale as a milestone in the arts community, adding
significantly to the availability of programming in the traditional performance disciplines.
Kev Findings bv Site
There are no "winners" or "losers" in terms of participation rates, but rather different stories of
achievement and challenges within each community. A combination of factors including geography,
demographics, programming levels, facilities, and local traditions create a unique context for arts
participation at the local level. Key findings for each of the twelve sites are presented below.
Allegheny County (Pittsburgh), Pennsylvania
Pittsburgh boasts a rich cultural tradition, the legacy of a booming industrial economy of a bygone
era. hi recent years, the arts played an important role in revitalizing the downtown area. The
Pittsburgh Cultural Trust's Benedum Center serves as the home of the Pittsburgh Ballet Theatre, the
Civic Light Opera, the Pittsburgh Broadway Series and the Pittsburgh Dance Council. Together with
Heinz Hall (owned by the Pittsburgh Symphony Society) and the Fulton Theatre, these venues
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12 Local Surveys of Arts Participation Summary Report
constitute the core of a thriving cultural district. Area residents benefit from a strong supply of
dance, opera, classical music, and musical theatre programming. The Pittsburgh Public Theatre
offers a full season of professional theatre and is complemented by a number of other companies,
including community theatres and academic institutions.
• Pittsburgh's arts participation is comparable to two of the other major urban areas in the survey,
Chicago and Philadelphia, but does not quite reach the high participation rates in Seattle/King
County or San Jose/Santa Clara County.
• 'Classical Music' participation, at 20%, may be related to the presence of a world-class orchestra
and a steady supply of chamber and choral music performances.
• The area's high rate of participation in 'Arts/Crafts Fairs and Festivals' (55%) may be related to
the popular Three Rivers Arts Festival, a 17-day Festival which is held each June and draws
approximately 600,000 people to the downtown area for free cultural events.
The study identified a total of 52 venues in Allegheny County, housing nearly 28,000 seats. Of the
12 sites, Pittsburgh has the highest reported attendance at 'Concert Hall/Opera House' venues, an
indication of the importance of the City's cultural district in the local performing arts delivery system.
Las Vegas, Nevada
In recent years Las Vegas has held the title as the fastest growing American city. Local arts
representatives report an abundant supply of popular entertainment, including pop music, jazz, and
blues. Touring Broadway musicals, the city's resident ballet and civic symphony orchestra, and the
University of Nevada - Las Vegas (UNLV) presenting series bring a wide range of programming to
the community. Arts administrators, however, note the lack of a professional theatre company and
suggest that the dearth of small production facilities may be a cause.
• Jazz accounts for over 70% of the more than 1 ,400 performing arts events reported over a recent
twelve month period.
• Attendance at traditional performing arts disciplines is low in comparison to other areas studied,
particularly in the areas of classical music and opera. The supply of this type of programming is
limited to a local community orchestra and the UNLV presenting program.
• The region's participation in 'Art Museums/Galleries' and 'Arts/Crafts Fairs or Festivals' is about
average for the 12 sites.
One of the 19 venues identified in Las Vegas, an outdoor amphitheater seating 18,000 accounts for
almost half of the total seat count. Of the remaining facilities, nearly half are either 'Bars, Clubs &
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12 Local Surveys of Arts Participation Summary Report
Dinner Theatres' or 'Alternative Venues' (e.g., libraries, schools, etc.). This corroborates the survey
finding that Las Vegas arts attenders utilize fewer traditional performing arts venues than any other
site (57%, compared to a 70% average for all sites).
Reno, Nevada
Reno, Nevada is also experiencing significant growth and demographic changes and a corresponding
expansion of arts activity including multi-cultural programming. In addition to resident performing
arts producers such as the Reno Philharmonic, the Nevada Festival Ballet, the Nevada Opera
Association, and the community-based Reno Little Theatre, a number of festivals, including an Asian
Fest and the Basque Festival, seem to have taken hold. Nonetheless, local visual arts facilities have
closed in recent years due to financial constraints.
• Participation rates for Opera (9%) were the second highest of all sites surveyed. While
participation rates were high, the low supply of opera performances (9) demonstrates the
importance of the Nevada Opera Association which produces a summer musical theatre series in
addition to its regular opera season.
• Reno respondents reported the highest rates of participation in 'Arts/Crafts Fairs and Festivals'
and at 'Historic Parks/Monuments'. Annual events which range from a Chili Cook-off, a Rib
Cook-off, an Italian Fest, an Asian Fest, the Reno Balloon Races, and the Reno Air Races almost
always include arts/crafts displays as part of the event. Also, Reno area residents appear to be
voracious readers, with 72% of respondents reporting "read plays, poetry, or novels."
• Over 550 events were identified during a recent twelve month period, with 'Jazz' and 'Classical
Music' accounting for over 75% of activity (485 events).
• Like their neighbors in other parts of Nevada, Reno/Sparks respondents listed 'visiting art
museums' as the single activity they would like to do more often (25%).
Two large hotel venues, each seating 2,000, host much of the area's musical theatre activity.
Traditional venue types (i.e., theatres, concert halls, opera houses, etc.) were attended less frequently
in comparison to other sites.
Rural Nevada
The third Nevada site studied as part of this project, Rural Nevada includes the balance of the state's
population excluding Las Vegas and Reno/Sparks. In these more rural communities, local
representatives report that the arts are often "the only game in town" for social and entertainment
activity. Accordingly, a broad range of arts and cultural activity is found across the state. A range of
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12 Local Surveys of Arts Participation Summary Report
touring programs offered by presenting organizations complement productions mounted by
community theatre companies. The relatively low supply of programs, however, places Rural
Nevada participation rates well below average in 5 of the 7 performing arts disciplines.
• Over 20% of Rural Nevada respondents reported attending a live poetry reading over the past
year - the third highest rate among the 12 sites. The popularity of the annual Elko Cowboy
Poetry Festival is evidence of this unique cultural tradition.
• High participation in 'Arts/Crafts Fairs and Festivals' (56%) may be attributed to the statewide
dispersion of community centers and local libraries which often host these types of events.
• Touring programs sponsored by WESTAF (Western States Arts Federation) and the Nevada
Presenters Network bring touring ballet companies to several Rural Nevada cities; these
performances may account for the mid-range of participation rates for 'Ballet' and 'Other Dance'.
For Rural Nevada respondents, the most frequently cited barrier to attending more often was
'Distance/travel time/inconvenient location' (26%); the frequency of this response highlights the
geographic isolation of many respondents.
Sedona, Arizona
Over the past decade, artists have been drawn to Sedona for the area's scenic beauty and affordable
living and studio space. Rising interest in the "American Southwest" cultural aesthetic has helped to
position Sedona at the forefront of interest in Native American-inspired and traditional design, arts,
and crafts. While visual arts activities are in abundant supply, access to the performing arts is
somewhat more limited. Residents often travel to Flagstaff, and even to Phoenix, for large scale
musical theatre, opera, and classical music performances.
• An unprecedented 77% of all respondents reported participation at 'Art Museums/Galleries' over
the past year. The large number of artists living in Sedona, the many art galleries, and the high
level of programmed activity (studio tours, gallery walks, etc.) clearly translate into high public
participation.
• Sedona ranks second of the 12 sites in 'Jazz' participation, at 19%. In addition to regular
programming in 'nightclub/jazz clubs', the annual Jazz on the Rocks festival draws close to 5,000
people each summer.
• Sedona's high 'Other Dance' participation rate (13%, compared to a 12-site average of 10%) is
attributed by local arts administrators to the work of two local dancers who offer classes and
frequent performances.
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12 Local Surveys of Arts Participation Summary Report
• Stage plays are the most frequently presented performing arts discipline in Sedona, and the
participation rate for 'Plays' (25%) exceeds the 12-site average of (20%).
Winston-Salem, North Carolina
The Winston-Salem area benefits from a wealth of activity in both performing and visual arts, due in
part to the presence of several universities and colleges with active arts programs. Resident
companies such as the Winston-Salem Symphony and the Piedmont Opera Theatre also contribute.
• Participation rates for Plays' (22%) and 'Classical Music' (19%) meet or exceed the 12 site
averages. Nearly 70% of the total number of performances reported in a recent twelve-month
period were in these two disciplines.
• While the total number of venues identified is large, local representatives report that the limited
number of traditional performing arts facilities (6 of 1 15) limits the provision of programs
requiring production facilities. Accordingly, participation rates for 'Opera' (4%) and 'Musicals'
(17%) - which are usually performed in traditional facilities - are below average compared to
other sites.
• Residents in Winston-Salem reported strong interest in attending Classical Music' more
frequently; 15% designated Classical Music' as their top priority, the highest percentage of all
sites for this category.
King County (Seattle), Washington
Recognized for its world-class opera company, ballet, and symphony, the City of Seattle remains a
cultural capital of the Pacific Northwest. Two of the most vibrant areas of arts activity are Seattle's
"fringe" theatres and the city's modern dance community. Demographics of the Seattle area are
consistent with conditions related to higher arts participation; 1990 census data shows that a third of
all adults have earned college degrees. The area continues to be a desirable place for young people to
establish roots.
• Attendance at 'Plays' in King County is the highest of all 12 sites (29%, compared to a 12-site
average of 20%). A large inventory of small venues in the 100 - 500 seat range support over 75
mainstream and "fringe" theatre companies.
• Among the 12 sites studied, King County records the second highest participation rate for 'Art
Museums/Galleries' (52%, second to Sedona); this rate is significantly higher than Chicago's
(42%) and Philadelphia's (44%). High community awareness surrounding the recent opening of
the Seattle Art Museum may have contributed to this remarkable statistic.
-11-
12 Local Surveys of Arts Participation Summary Report
• King County residents rank first among the 12 sites (82%, tied with Sedona) in the category of
'Reading books for pleasure'. Uniformly high participation rates for other literary categories
(ranks 1st, 2nd or 3rd in all categories) reflect a well-educated population.
Nearly three-quarters of all King County respondents (the highest figure for any site studied)
expressed a desire to participate in the arts more frequently. Financial constraints (i.e., 'Cost of
tickets', etc.) were cited most frequently as reasons for not attending more often. A new countywide
hotel/motel tax fund, of which 70% will be used to fund cultural facilities, ensures continued public
support of the arts and culture in King County.
Chicago Area
With a 1990 census population of 7.26 million, the Chicago site (including 5 counties) is by far the
most populous of the 12 sites studied, providing a sharp contrast to the rural western sites both
geographically and demographically. By any standards, the Chicago area is rich with both producers
and presenters of traditional and non-traditional performing arts activity. Large arts institutions
include the Chicago Symphony Orchestra, the Lyric Opera of Chicago, the Goodman Theatre, and
the Chicago Art Institute. Major presenters in the area include the Auditorium Theatre, Performing
Arts Chicago, the Chicago Jazz Festival and the Ravinia Festival, in addition to a host of educational
institutions with presenting programs including Northwestern University, DePaul University,
Columbia College, and the University of Chicago. Theatre companies proliferate in the area, with
some 200 non-profit theatre companies and more than 80 performing arts facilities of under 300
seats. Several arts service organizations track performance activity within certain disciplines,
including the Chicago Dance Coalition, the Chicago Music Alliance, and the League of Chicago
Theatres.
• Chicago area participation rates for the traditional performing arts disciplines are nearly average
for the 12 sites studied, reflective of the large size and demographic heterogeneity of the area,
especially with respect to race, income and education.
• The high rate of attendance at 'Musicals' (32%, second of all 12 sites) may be due in part to
Chicago's inclusion on the first-run Broadway road show circuit as well as to the preponderance
of theatre companies whose productions often include musical theatre.
• Unique to the Chicago site is unusually high utilization of 'Dinner Theatres' as venues for the
performing arts (12% of all venue utilization, a figure twice as high as at any other site).
• Among Chicago respondents who would like to attend arts events more often, fully 75% (ranks
1st) expressed an interest in attending 'Art museums/galleries' more frequently.
-12
12 Local Surveys of Arts Participation Summary Report
• In terms of exposure to the traditional arts on radio or through recordings, Chicago's overall
figure of 83% is the highest of all 12 sites. The Chicago area benefits from a wide range of arts
programming offered by a number of radio stations including WFMT, WNIB, and WBEZ.
Challenges facing the Chicago arts community echo those of other large communities; sources report
that audiences at traditional arts events are "graying" and that arts organizations throughout the area
are struggling to respond to their increasingly diverse constituencies.
Philadelphia Area
The Philadelphia Metropolitan Statistical Area (MSA), which includes several counties in southern
New Jersey, embraces a diverse arts community with over 30 large arts institutions with budgets over
$2 million and scores of smaller groups. Several colleges and universities add measurably to the
supply of arts activity, including student and professional productions and presentations of visiting
artists in music, theatre, and dance. That culturally diverse programming is a major issue for arts
groups reflects the area's 25% minority population.
• With several exceptions, participation rates for the Philadelphia site are similar to rates for the
Chicago and Pittsburgh/ Allegheny County sites, and to the average rates for all 12 sites.
• As a centerpiece of American history, Philadelphia has the highest participation rate for 'Historic
Parks/Monuments' (47%) of the large cities studied. Among the area's historical landmarks are
Independence Hall, Valley Forge National Park, plus many historic neighborhoods and houses.
• Philadelphia's rate for 'Classical Music' participation through television programming, at 50%, is
the highest of all 12 sites. This rate contrasts sharply with Pittsburgh's (30%), and is more
comparable to Chicago's (46%). The local non-profit station WHYY-TV's regular offerings of
classical music programming may contribute to higher participation.
• Of all the urban sites studied, Philadelphia respondents attended 'Alternative Venues' most often,
including 'Churches/Synagogues' (4%) and 'Secondary School Facilities' (4%). Aside from the
three Nevada sites, Philadelphia respondents also reported the highest utilization of
'Nightclubs/Jazz Clubs' (8%).
Philadelphia's inventory of performance facilities is in a state of transition. The arts community
eagerly anticipates plans for new performance facilities. Major institutions including the
Philadelphia Orchestra look forward to a new home, while emerging groups await the increased
availability of existing venues.
13
12 Local Surveys of Arts Participation Summary Report
Broward County, Florida
The cultural life of Broward County has changed radically with the influx of new residents and the
opening of the Broward Center for the Performing Arts in 1990. Representatives of the arts
community report trends away from the traditional arts programming offered primarily for the benefit
of seasonal residents during the winter months. More family-oriented fare, such as children's theatre
and popular music, now appears on the cultural calendar, even during the summer months. With
respect to arts activity levels, Ft. Lauderdale clearly benefits from its proximity to Miami and other
population centers along the South Florida coast.
• Participation rates for traditional performing arts disciplines in Broward County are all above the
12-site averages, with the exception of 'Other Dance' performances.
• Overall, 57% of the Broward County residents surveyed attended at least one performance among
the seven performing arts disciplines studied, the highest figure for all sites.
• Among the 12 sites studied, Broward County respondents reported the highest participation rates
in the following disciplines: 'Jazz' (20%), 'Classical Music' (23%), 'Opera' (12%), 'Musicals'
(34%), and 'Ballet' (13%, tied for first with Seattle/King County). These very high rates may be
attributed to a number of factors, including the high public awareness surrounding the opening of
the Broward Center and the greater availability of leisure time for some residents (i.e., retirees).
Among Broward County respondents, 29% designated 'Art Museums/Galleries' as their single
highest priority for more frequent attendance; a figure significantly higher than those for other urban
sites such as Santa Clara County, CA (20%) and Seattle/King County, WA (19%).
Dade County, Florida
Encompassing the greater Miami area, Dade County, Florida is a rapidly growing community at the
forefront of cultural change in America, in terms of both growth and diversity. According to 1990
census figures, approximately half of the population of Dade County is of Spanish origin and about
20% of the County population is African- American. The number of cultural organizations in Dade
County increased from 1 10 in 1983 to nearly 600 in 1991. The resulting demand for resources,
especially funding and facilities, is the primary challenge of the arts community.
• Arts participation rates in the traditional disciplines do not capture the cultural richness of the
community. 'Classical Music' participation for Dade County, at 12%, is the lowest of any urban
site studied, although those who do attend classical music performances go more frequently than
14
12 Local Surveys of Arts Participation Summary Report
their counterparts in other cities. The European-based classical music tradition is not part of the
cultural heritage of a majority of Dade County's population.
• Generally, participation rates for disciplines based on the spoken word (i.e., 'Musicals' and
Plays') are lower for Dade County, while participation rates for 'Ballet' and 'Other Dance' (i.e.,
disciplines based on movement) are higher. Although a number of theatre companies present
performances in Spanish, survey results show that Hispanic/Latino respondents (from all 12
sites) are less than half as likely to attend 'Plays' than White respondents, but are equally as likely
to attend 'Other Dance*.
• Dade County's 10% participation rate for 'Ballet' is twice the figure for Philadelphia and Chicago
(both at 5%). The Miami City Ballet's rapid ascent to national prominence (it is currently the 7th
largest ballet company in the U.S.) and its impact on the local community through regular
performances, outreach, and education programs may contribute to high participation.
The recent growth of Miami's major arts institutions has created demand for new facilities with
improved technical capabilities. Representatives of the arts community recognize the need to expand
access to performance facilities - not only for the city's large organizations but also for its many
emerging arts groups.
Santa Clara County, California
Santa Clara County, at the southern end of the San Francisco Bay Area, has experienced rapid growth
in population over the past two decades, and the City of San Jose is now one of California's largest
centers of commerce and population. Nearly one in five residents is Hispanic/Latino, and a growing
Asian community represents another 10% of the population.
• For each of the seven performing arts disciplines studied, participation rates for Santa Clara
County generally fall in the middle of the distribution for all 12 sites, with a tendency to be
somewhat higher.
• 'Jazz' participation, at 19%, is relatively high. In addition to a lively nightclub scene, a summer
jazz festival takes place throughout downtown San Jose and offers free performances for three
days.
• Of particular note in Santa Clara County is the high rate of attendance at 'Historic
Parks/Monuments', with 51% of respondents having visited such a site over the past year (ranks
#2 of the 12 sites). Local representatives report that Kelly Park (a collection of historic buildings
and replicas near downtown San Jose), the Winchester Mystery House, and Villa Montalvo are
popular destinations for local residents and visitors.
15-
12 Local Surveys of Arts Participation Summary Report
• Santa Clara County respondents reported the highest percentage of attendance at college facilities
(12%) of all the sites surveyed, with the exception of Las Vegas. Four area educational
institutions host performing arts activities: San Jose State University, Santa Clara University,
Stanford University, and Foothill Community College.
Some of the most exciting cultural developments in the county are in the area of multi-cultural
performing arts collaborations involving Asian, Latino, and East Indian music and dance companies.
The county's cultural community is striving to develop a supportive infrastructure for arts and culture
through audience development and outreach activities.
Conclusions
Results of this study suggest that supply and demand (for arts activity) do not always have a
traditional relationship in the economic sense, but rather stimulate each other to achieve higher
participation levels. In other words, arts programs are not offered solely in response to demand, but
in some cases can stimulate demand. Where high participation rates were observed, there was also
high interest in attending those types of events more often. If participation breeds additional interest,
then, to a degree, supply can stimulate additional demand and a spiraling effect can occur.
Attempting to understand the local conditions surrounding arts participation levels may eventually
lead to the transfer of arts development strategies between cities. For example, studying Seattle's
theatre community, or Dade County' dance community, or Sedona's visual arts community can
provide clues to stimulating higher participation in these disciplines in other communities.
Dynamic forces shape different patterns of arts participation in each community. Facilities open and
close; new institutions rise to prominence while others struggle to reach new audiences;
demographics and cultural factors often change rapidly, creating new and different demands for
programming and facilities. Arts participation rates measured in this study are like a snapshot of a
long panorama that is constantly changing. Continued research at the local level will add valuable
context and detail to the national surveys and advance our understanding of the ecology of arts
participation.
16-
12 Local Surveys of Arts Participation Summary Report
II. ARTS PARTICIPATION IN 12 LOCAL AREAS
This research project adds an important new dimension to the study of arts participation. In addition
to measuring arts participation or "demand" for arts programming in 12 diverse communities, another
component of the research program involved gathering information on the availability or "supply" of
arts facilities and programs in each of these areas, in order to better understand arts participation
levels within a context of local conditions. The resulting analysis, in the broadest sense, amounts to
an exploration of the relationship between "supply" and "demand" with respect to arts participation.
Analysis of survey data advances our understanding of variations in arts participation levels (and
other issues) for each site. Additional research into the availability of arts activities breathes life into
the statistics of arts participation by shedding light on some of the reasons that respondents in a
particular area attend jazz performances, for instance, as much as they do.
In order to place this research effort into context with other studies, consider that an individual's arts
participation history is a function of both individual and environmental factors. Demographic and
cultural influences, and especially arts education as a child, help shape a person's values with respect
to the arts - their attitudes about arts participation and ultimately their propensity to participate in the
arts as an adult. Other factors such as ticket prices and the availability of programming affect an
individual's ability to participate but are part of the general environment. The arts delivery system in
any community is a complex marriage of facilities, media, arts producers, presenters, funders, service
organizations, and other institutions. The "fit" between a community's arts consumers and their local
delivery system is the subject of 12 site discussions which appear in this section.
Despite the fact that some participation rates in certain cities can be linked with a particular arts
organization or even a particular production, relationships between the "supply" of arts programming
and "demand" for programming in a particular community are generally inconclusive.1 More
frequently, a combination of factors including geography, demographics, program offerings,
facilities, and local traditions seem to influence participation rates. Throughout the 12 site
discussions, participation rates which seem to be especially high or low are highlighted and an effort
is made to discern one or more reasons which might explain the results. Proving causality, however,
is beyond the scope of this research. The general approach to the site discussions is summarized in
the diagram on the following page.
Qualifications to Local Data
The quality of local data, such as size and type of facilities, number of arts programs, etc., varies
substantially from site to site. For the large urban areas studied (Chicago, Philadelphia, Pittsburgh,
Miami, and Seattle), the supply of arts activities would be difficult if not impossible to measure
precisely, given the size and complexity of the arts delivery systems in these areas and the vast
amount of programming. In cases where numbers are not available, an anecdotal approach is taken to
characterizing the local arts environment, including mention of the area's major venues and
institutions. Unfortunately, the limited scope of this summary report does not allow for a full
treatment of the breadth of arts activity in each site, particularly the alternative venues and small
performing groups which contribute immeasurably to the arts scene in any community. Specific
^or example, Broward County's 34% participation rate for 'Musicals' is most likely related to a 12-week run
of Phantom of the Opera, which drew over 250,000 people to the newly opened Broward Center in Ft.
Lauderdale.
- 17-
12 Local Surveys of Arts Participation
Summary Report
institutions mentioned in the site discussions were selected only to illustrate the range of arts activity
available in each community.
APPROACH TO SITE ANALYSIS
"SUPPLY" RESEARCH
Demographic & Lifestyles Analysis
Number & Size of Arts Facilities
Types of Arts Organizations
Number and Type of Arts Programs
Interviews with Local Representatives
li
"DEMAND" RESEARCH
(DATA ANALYSIS)
Participation Rates
Number of Times Attended
Types of Venues Attended
Interest in Attending More Often
Other Data
U
SITE ANALYSIS
Demographic Characteristics of the Sampled Area
Geographical/Locational Issues
Anomalous Participation Rates
Relationships Between Arts Programs and Participation Rates
Gaps Between Supply and Demand
Comparisons Between Similar Sites
Types of Venues Attended vs. Actual Facility Inventory
Interest in Attending More Often vs. Supply of Arts Programs
Tables
Several tables are used in each site discussion to highlight relevant data. Initially, definition of the
geography surveyed and basic information about the sample are presented in a table entitled "About
the Sample..." Also on the first page of each site discussion is a table summarizing the numbers of
performances (jazz, classical music, opera, musicals, plays, ballet, and other dance), number of art
museums, number of art galleries, number of arts/crafts fairs/festivals, and number of historical sites
(monuments, parks, etc.). Figures for the number of performances are for a recent 12-month period,
and do not necessarily correspond to the 12-month period over which respondents were asked to
recall their history of participation. When available, these figures were included to provide a general
idea of the annual availability of certain types of cultural activities.
Arts participation rates for each site (weighted data) are displayed in a table on the second page of
each site discussion. To provide some context, average rates for the 12 sites combined are presented
in an adjacent column. Figures for the 12 sites combined are not meant to be comparable to figures
from the national SPPAs, but in fact are only average figures for 12 very dissimilar communities.
Readers are cautioned not to take these rates out of context. Table 1 in the appendix offers a
complete picture of participation rates for all 12 sites, along with average figures for all 12 sites plus
figures from the 1982 and 1985 SPPAs. In most cases, participation rates for the local sites are
significantly higher than the corresponding rates from the 1982 and 1985 SPPAs. Although it is
18
12 Local Surveys of Arts Participation Summary Report
probable that participation rates in some of the local areas are indeed higher than national figures, the
consistency and magnitude of upward variation suggests that methodological differences in the way
data was collected may account for at least some of this variation.2
Most site discussions also contain a table showing the number and size of performance venues in the
area. The many different types of venues are categorized into four groups:
• traditional performing arts facilities (concert halls, etc.)
• bars, clubs and dinner theatres
• college/university venues
• alternative venues (churches, parks, etc.)
In some cases, the large number of small venues, especially nightclubs and churches/synagogues,
was too difficult to measure precisely, especially for large areas. As a result, these tables do not
present definitive venue information but rather include information supplied by local sources or
obtained through secondary research (i.e., facility directories, etc.).
The last table of each site discussion presents frequency of participation data. Participation rates
alone show the "breadth" of participation in a community but do not account for how many times the
respondents attended - the "depth" of arts participation. The number of different disciplines attended,
yet another dimension of arts participation, is addressed briefly in the Special Topics section of this
report. While most respondents attended any given discipline only once or twice, a small number of
respondents reported very frequent attendance. For example, some people reported attending jazz
concerts 50 to 100 times over the preceding year. These observations are not necessarily invalid, but
they present a statistical problem in that they exert an undue influence when computing average
figures. Therefore, all frequency of attendance observations greater than 12 were excluded from the
data set for the purposes of computing mean frequency figures. This subject is explored in more
detail later in the report.
2 A discussion of methodological differences between the national SPPAs and the 12 Local Surveys may be
found in the Methodology Section of this report.
-19-
12 Local Surveys of Arts Participation
Summary Report
Allegheny County (Pittsburgh), Pennsylvania
Allegheny County, including the City of Pittsburgh, lost nearly ten percent of its population during
the 1970s and continued to diminish in size through the 1980s to its current population of 1.34
million. Compared to other major metropolitan areas, the Pittsburgh area is somewhat less culturally
diverse, with a population that is 88% white,
11% African- American, and about 1% other
races. According to 1990 census data, less than
1% are Hispanic/Latino. Estimated 1992 median
income was approximately $30,000, with 24% of
households having incomes over $50,000, and
42% having incomes under $25,000.
With respect to education levels, 1990 census
data for Allegheny County show that 23% of
adults (25+) have achieved a Bachelor's degree or
higher, while 21% have less than a high school
education. With respect to other large urban
areas studied, these figures compare favorably to
education levels in Miami/Dade County (19%
college grads, 35% less than H.S.), and
unfavorably to Seattle (33% college grads, 12%
less than H.S.). Compared to all U.S households,
Allegheny County contains significantly more
singles and seniors (over 40% of all households)
and relatively fewer high and medium-high
income families. Like in other large urban areas,
many households fall at both extremes of the
socioeconomic scale.
About the Sample.,*
• Allegheny County was divided into two
sub-areas for sampling - the City of
Pittsburgh and the remainder of Allegheny
County. The desired sample size was
approximately 200 completed interviews for
eachsubarea.
♦ sample size -411
Sample Demographics*
54% female, 46% male
86% white, not Hispanic
9% African-American; 4% all other races
20% have incomes > $S0,0QQ/yn
37% have incomes < $20,000/yr.
28% completed college; 7% have graduate
degrees
*weighted data
Arts Activity in Allegheny County
Pittsburgh boasts a rich cultural tradition. A number of major philanthropies - the legacy of a
booming industrial economy of a bygone era - bolster the Pittsburgh's thriving arts community.
Symbolizing the important role of the arts in the revitalization of downtown Pittsburgh, the Benedum
Center for the Arts, a 2,800-seat fully restored movie palace, now serves as an elegant home for the
Pittsburgh Ballet Theatre, Civic Light Opera, Pittsburgh Broadway Series, Pittsburgh Opera, and the
Pittsburgh Dance Council.
The Pittsburgh Cultural Trust, a non-profit organization, was established in 1984 to develop a
cultural district in Downtown Pittsburgh and to support the arts throughout the region. The Trust
operates the Benedum Center and the 1300-seat Fulton Theater; it also provides a number of different
services to the arts community, including workshops, collaborative advertising, publications, and the
TDC Booth (a non-profit ticketing outlet). These two facilities, along with Heinz Hall (owned by the
Pittsburgh Symphony Society), constitute a triad of performance facilities within the cultural district.
Among the area's major dance presenters are the Pittsburgh Ballet Theatre, the Pittsburgh Dance
Council, and Dance Alloy. A large portion of the County's opera and musical theatre performances
are presented by the Civic Light Opera, the Pittsburgh Opera, and the Opera Theatre of Pittsburgh.
20
12 Local Surveys of Arts Participation
Summary Report
Performances of classical music are offered by the
Pittsburgh Symphony, the Pittsburgh Chamber Music
Society, and special-interest groups such as the Organ
Artist Series of Pittsburgh. Choral music is also
popular in the area, evidenced by a number of active
vocal ensembles including the Mendelssohn Choir of
Pittsburgh, the Pittsburgh Camerata, and the Bach
Choir of Pittsburgh.
The non-profit Pittsburgh Public Theatre supplies a
great deal of Pittsburgh's professional theatre activity,
and is complemented by a number of other companies
including the City Theatre Company and Quantum
Theatre. Academic institutions also supply a
substantial portion of theatre activity, including the
Carnegie Mellon University Drama Department and
the Three Rivers Shakespeare Festival, a program of
the University of Pittsburgh.
Pittsburgh's largest cultural center, The Carnegie, is
an important institution by international standards,
encompassing the Library of Pittsburgh, Museum of
Art, Museum of Natural History, Music Hall, and
Science Center. The diverse programming of the
Carnegie, while emphasizing the visual arts,
represents several cultural disciplines, and enriches
the lives of both Pittsburgh area residents and tourists.
Arts Participation in Allegheny County
Generally, arts participation rates for Allegheny
County are near or somewhat below average in
comparison to mean figures for the 12 sites combined.
In comparison to the other large urban areas
studied, Pittsburgh compares similarly to Chicago and
Philadelphia in many categories, outpaces
Miami/Dade County in several disciplines, but does
not reach the high participation rates of Seattle/King
County or San Jose/Santa Clara County, both of
which are similar in size to Pittsburgh/ Allegheny
County.
'Classical Music' participation in Allegheny County
(20%) matches the rates for Seattle and Chicago, and
is slightly ahead of Philadelphia (19%). The
Pittsburgh Symphony, long considered a world-class
orchestra, places Pittsburgh in a class with other
larger cities in the realm of classical music. Almost
70% of 'Classical Music' attenders reported last
attending a 'Concert Hall/Opera House' - pointing to the Pittsburgh Symphony's frequent
Allegheny County
Arts Participation
Rates
>>
C
9
O
U
>>
B
0>
■a
it
<
a
e
CO
<
CORE DISCIPLINES
Jazz
14%
15%
Classical Music
20%
20%
Opera
5%
6%
Musicals
25%
27%
Plays
18%
20%
Ballet
7%
7%
Other Dance
8%
10%
Art Museum/Gallery
38%
42%
Any of 8 Core Disciplines
57%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
55%
49%
Attend Movie Theater
72%
73%
Historic Park/Monument
41%
44%
LITERATURE
Read Books for Pleasure
60%
73%
Read Plays or Poetry or Novels
63%
69%
Read Plays
8%
8%
Read Poetry
25%
29%
Read Novels/Short Stories
59%
64%
Hear Poetry
7%
15%
Hear Novels/Books
8%
13%
TELEVISION EXPOSURE
Jazz
31%
36%
Classical Music
30%
44%
Opera
16%
23%
Musicals
22%
29%
Plays
22%
27%
Any Dance
31%
36%
Artists/Art/Art Museums
34%
43%
Any TV Exposure
65%
75%
RADIO OR RECORDINGS
Jazz
40%
51%
Classical Music
52%
61%
Opera
24%
28%
Musicals
20%
23%
Plays
6%
10%
Any Radio/Recordings
67%
77%
-21
2 Local Surveys of Arts Participation
Summary Report
Allegheny County
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
EATING CAPACITY RANGES
#of
Venues
Total
Seats
#of
Venues
Total
Scats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
fp to 300
14
1901
N/A
N/A
5
966
7
1050
26
3917
01 - 850
12
6145
N/A
N/A
2
820
4
1875
18
8840
51 - 1500
1
1350
N/A
N/A
2
1871
1
1500
4
4721
501 - 2500
1
1950
N/A
N/A
0
0
0
0
1
1950
h>er 2501
3
8569
N/A
N/A
0
0
0
0
3
8569 !
'otal Seat Count by Type
31
19915
0
0
9
3657
12
4425
52
27997
srformances at Heinz Hall, a 2,847-seat concert hall. The area's steady supply of chamber and
loral music performances may also contribute to such a solid participation rate for 'Classical Music'.
ittsburgh's participation rate for 'Musicals' (25%), also compares to Seattle (26%) and Philadelphia
14%), but falls behind Chicago (32%) and Santa Clara County (30%). The Pittsburgh Broadway
eries, (a presentation of the Pittsburgh Symphony Society, the Pittsburgh Cultural Trust, and PACE
heatrical Group, Inc.), and the Civic Light Opera, draw thousands downtown to the Benedum
enter and Heinz Hall for musical theatre productions. That relatively few musical theatre attenders
ported attending any other venue type besides a 'Theatre' or 'Concert Hall/Opera House' underscores
le importance of these downtown venues.
articipation rates for other performing arts disciplines
pically place Pittsburgh between several of the other
rban sites studied. Pittsburgh's jazz participation rate of
4% falls between Seattle's 16% rate and Philadelphia's
ite of 12%. Similarly, Pittsburgh's 18% participation
ite for Plays' equals Philadelphia's rate for that category,
at falls short of Chicago's rate (21 %), and is well short of
eattle (29%) in this category.
/ith respect to dance participation, Pittsburgh's 7% rate
>r 'Ballet' is somewhat higher than Chicago's and
hiladelphia's rates of 5%, but behind Miami/Dade
ounty's rate of 10%. Pittsburgh's 8% participation rate
)r 'Other Dance' ranks last among the 12 sites; this lower
ite may be less related to the supply of dance
srformances and more a reflection of the demographic
laracteristics (esp. education levels) of the Pittsburgh area.
ittsburgh's 38% participation rate for 'Museums/Galleries' falls behind most of the other 1 1 sites
udied. Only Miami/Dade County (35%) and Winston-Salem (32%) rank behind Pittsburgh in this
itegory. In addition to the Carnegie Museum of Art, the Frick Art Museum also houses a
;rmanent collection. A number of other galleries and service organizations, including The Mattress
actory, the Pittsburgh Center for the Arts, the Society for Contemporary Crafts, and the Wood
treet Galleries (a Pittsburgh Cultural Trust project) offer regular exhibitions, as well as several
iucational institutions.
Allegheny County -
Mean Frequency of
Attendance Among
Attenders
•**
S
S
o
U
e
V
J3
a*
<
6G
«S
»— i
-J
-J
<
Jazz
2.26
2.7
Classical Music
3.25
2.84
Opera
2.15
1.86
Musicals
2.56
2.3
Plays
3.18
2.45
Ballet
1.57
1.77
Other Dance
1.96
2.03
Art Museum/Gallery
2.2
2.62
Arts/Crafts Fair/Festival
2.3
2.66
Historic Park/Monument
2.42
2.85
22
12 Local Surveys of Arts Participation Summary Report
Over half of all Allegheny county respondents (55%) reported attending an 'Arts/Crafts Fair/Festival'
during the past 12 months, a rate higher than at most of the other sites studied, including Chicago and
Philadelphia, and equal to Seattle's 55% rate in this category. This result is probably related to the
popular Three Rivers Arts Festival, a 17-day multi-disciplinary visual and performing arts event held
each June throughout the downtown area. All of the Festival's activities - including exhibitions,
performances, children's programs, and poetry readings - are free to the public. Annual attendance at
the Festival is approximately 600,000.
Literature participation rates for Pittsburgh are low (or lowest) in comparison to the other sites
studied. For example, 60% of Pittsburgh/ Allegheny County respondents 'Read Books for Pleasure',
compared to 82% for Seattle/King County. Aside from the relatively low education levels of the
Allegheny County population, there is little else to explain these comparatively low rates, particularly
for attending readings of poetry (7% - lowest of all 12 sites by a wide margin) or of Novels/Books
(8%). Moreover, one source of literary activity - the Three Rivers Lecture Series - is well-attended,
according to local sources.
Despite its relatively large population, Pittsburgh's media participation rates are also low or lowest
among the 12 sites studied. While 65% of Pittsburgh respondents reported some television exposure
to the arts, this rate is 10% to 15% behind similar rates for other large cities and is comparable only
to the Rural Nevada site (67%), where the supply of television programming is very limited.
Types of Venues Attended
Almost 80% of all Allegheny County respondents who participated in any of the seven performing
arts disciplines reported last attending a traditional venue type, a figure just higher than Seattle/King
County (78%), and significantly higher than Chicago (67%) and Philadelphia (65%). Attendance at
'Concert Hall/Opera House' - 33% - is the highest for this venue type for all 12 sites by a wide
margin, and again points to the importance of Heinz Hall and the Benedum Center in the facility
inventory of the area. Over a third of all jazz attenders last visited a 'Nightclub/Jazz Club', a figure
typical of other large urban areas and evidence of a healthy jazz scene. Use of alternative venues
(esp. churches or synagogues and secondary school facilities) is lowest among comparable sites.
Interest in Attending More Often
Two-thirds of Pittsburgh/ Allegheny County respondents indicated that they would like to attend arts
events more often, a figure not significantly different than similar figures for Chicago and
Philadelphia (both 68%), but lower than Seattle/King County (74%) by a significant margin. As at
other sites, the largest percentage of respondents (62%) expressed an interest in attending
'Museums/Galleries' more frequently, followed by 'Musicals' (59%) and 'Plays' (56%).
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues provided by the Pittsburgh Cultural Trust Information regarding specific cultural
institutions was drawn from a variety of publications, including Pittsburgh Arts Resources: 1992-93 Cultural Directory,
and other publications of the Pittsburgh Cultural Trust.
23-
12 Local Surveys of Arts Participation
Summary Report
Las Vegas, Nevada
Known in recent years as the fastest growing American city, the population of Las Vegas grew by
nearly 70% during the 1970s and an additional 50% in the 1980s. With a 1990 census count of
718,804, projections indicate that the city will reach nearly 850,000 residents by 1997. Current
demographic data indicate that 81% of the population is white, 10% African- American, and 1 1% of
Spanish origin (independent of race). Median household income has risen from $19,000 to more
than $32,000 in just over 10 years, and 1990
census figures show that 24% of the area's
households have an annual income over $50,000.
A composite view of the area shows a rapidly
changing community with younger, upwardly
mobile new residents (many from southern
California) joining traditional families as the new
Las Vegans. As the largest city in Nevada, Las
Vegas reflects the diversity of lifestyles
associated with urban areas, including both
affluence and poverty.
About the Sample..,
• 28 Nevada ZIP Codes were sampled,
covering the greater Las Vegas area,
including Henderson and Boulder City
• sample size - 402
Sample Renographies*
50% female, 50% male
78% white, not Hispanic
7% African-American; 7% Hispanic
19% have incomes > $50,000/yr.
27% completed college,
4% have graduate degrees.
*weighted data
Arts Activity in Las Vegas
Local arts representatives speak of the
community's great interest in popular
entertainment, including pop music, jazz, and
blues, all of which are in abundant supply in the
city's casinos and showrooms. Touring
productions of Broadway musicals have also been popular, and the city's resident ballet and civic
symphony orchestras have a long tradition of performing in the community. A substantial presenting
series at the University of Nevada - Las Vegas (UNLV) brings touring dance, music, and theatre
groups to the region. Figures for the number of performances in each discipline (not counting casino
shows) were researched carefully by Clark County
officials (see Table at left). Frequent jazz
programming in hotel bars accounts for a large
majority of jazz activity in Las Vegas, although about
75 to 100 jazz events were not associated with the
hospitality/gaming industry.
Arts administrators interviewed for this study
concurred that professional theatre is sorely lacking,
and that the absence of suitable facilities in the range
of 500 to 2,000 seats has hampered the growth of the
arts community. On a positive note, several new
libraries planned for the city will feature 300-seat
auditoria, and outdoor amphitheaters are also planned
as features of new city and regional parks. Children's
theatre and arts/crafts classes continue to grow as
young families look for cultural experiences, while the
city's arts community faces the challenge of drawing
visitors out of casino hotels and into arts programs
throughout the city.
Las Vegas Cultural Activity
Cultural Attractions
Art Museums
12
Art Galleries
150
Arts/Crafts Fairs/Festivals
6
Historic Parks/Sites/Monuments
3
Performing Arts Activity*
Jazz
1,063
Classical Music
88
Opera
8
Musicals
46
Plays
112
Ballet
51
Other Dance
36
*Number of Reported Performances over a
Recent 12-Month Period
-24-
12 Local Surveys of Arts Participation
Summary Report
Arts Participation in Las Vegas
The effect of the gaming industry on arts participation
in Las Vegas is pronounced. The glut of popular
programming in the city's casino showrooms, while a
boon to visitors and the local economy, appears to
influence local arts participation negatively in the
traditional disciplines, both in terms of supply and
demand.
Attendance at traditional performing arts disciplines is
quite low in comparison to other urban areas studied,
especially in the areas of classical music and opera.
This finding is consistent with the relatively low
supply of programs in these disciplines. The 9%
attendance rate for 'Classical Music' is the lowest of
all 12 sites. Representatives of the local arts
community indicate that Las Vegas's local symphony
orchestra is not well supported in the community and
receives no city or county funding. The balance of
classical music programming is available primarily
through UNLV's Master Series, which presents
touring ensembles at relatively high ticket prices
($15-$45). Attendance at 'Opera' is the second lowest
of all 12 sites at 3% and can be explained by the lack
of local productions of opera in Las Vegas. Only two
operatic performances were presented by UNLV last
year.
Participation rates for 'Jazz' (15%), 'Ballet' (7%), and
'Other Dance' (11%) are all within a few points of the
12-site averages. It is interesting to note, however,
that supply figures indicate twice as many ballet as
other dance performances, though the rate for 'Other
Dance' attendance is higher. One possible explanation
may involve the wide variety of casino showroom
entertainment in the form of musical and dance
"revues" which feature jazz and tap dance and may be
attracting local residents at moderate levels. One
positive effect of the Las Vegas gaming industry is
the large numbers of local musicians and dancers
employed by entertainment promoters.3
Rates for participation in both 'Musicals' and 'Plays'
are both well below the 12-site averages; these low
rates reflect the low supply of programs and, in fact,
the dearth of appropriate facilities in which to present
or produce these disciplines. Outside of two
performance facilities at UNLV and the 1,200 seat
Las Vegas
Participation
Rates
3
S
>
3
-
a
C0
B
on
w
on
a
<
CORE DISCIPLINES
Jazz
15%
15%
Classical Music
9%
20%
Opera
3%
6%
Musicals
20%
27%
Plays
16%
20%
Ballet
7%
7%
Other Dance
11%
10%
Art Museum/Gallery
39%
42%
Any of 8 Core Disciplines
59%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
50%
49%
Attend Movie Theater
67%
73%
Historic Park/Monument
36%
44%
LITERATURE
Read Books for Pleasure
71%
73%
Read Plays or Poetry or Novels
69%
69%
Read Plays
4%
8%
Read Poetry
33%
29%
Read Novels/Short Stories
65%
64%
Hear Poetry
13%
15%
Hear Novels/Books
9%
13%
TELEVISION EXPOSURE
Jazz
37%
36%
Classical Music
33%
44%
Opera
16%
23%
Musicals
25%
29%
Plays
21%
27%
Any Dance
32%
36%
Artists/Art/Art Museums
36%
43%
Any TV Exposure
69%
75%
RADIO OR RECORDINGS
Jazz
50%
51%
Classical Music
54%
61%
Opera
18%
28%
Musicals
16%
23%
Plays
7%
10%
Any Radio/Recordings
74%
77%
3Where Artists Live. 1980. National Endowment for the Arts - Research Division Report #19, March 1987.
-25-
12 Local Surveys of Arts Participation
Summary Report
Las Vegas Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
1
300
4
650
2
350
1
300
8
1600
301 - 850
2
1180
0
0
1
600
2
1150
5
2930
851 - 1500
0
0
0
0
0
0
2
2900
2
2900
1501 - 2500
1
2000
0
0
1
2200
0
0
2
4200
Over 2501
1
7500
0
0
1
18000
0
0
2
25500
Total Seat Count by Type
5
10980
4
650
5
21150
5
4350
19
37130
Las Vegas High School Auditorium, there are no performance venues with advanced technical
capabilities.
Attendance by Las Vegans at art museums and arts/crafts fairs is about average for the 12 sites, but
visitation at 'Historic Sites' is the lowest of all 12 sites at 36%. This figure is somewhat curious
when considered in light of Reno's second highest rate of visitation at heritage attractions (50%).
One explanation may lie in Las Vegas' geographic isolation from the historic sites scattered around
Nevada; Reno is closer in proximity to the Lake Tahoe area and to other historic Nevada towns
(Carson City, Virginia City, etc.). Also, Las Vegas is a relatively young city.
In terms of reading literature and attending public readings, Las Vegas has comparatively low rates in
several categories, in contrast to the Reno and the rural Nevada sites. Las Vegas literature
participation rates include: 'Reading Books for
Pleasure' - 71% (ranks 9th of 12 sites); 'Reading
Plays' - 4% (ranks last); and 'Attending Poetry
Readings' - 13% (ranks 1 1th). Likewise, rates for
exposure to the arts on television, on radio, or through
recordings are quite low compared to the 12-site
averages.
One can surmise that the widespread availability of
popular programming at the casino showrooms,
combined with the relative youth of the city,
contributes to lower participation rates in the
traditional disciplines. Further research is necessary
to determine if Las Vegas residents participate more
actively in other types of cultural events (e.g. popular
music, etc.) which were not surveyed.
Types of Venues Attended
Distinctly different patterns of venue utilization may
be observed among Las Vegas arts attenders, in comparison to other sites. Although Las Vegas
attenders utilize fewer traditional performing arts venues than any other site (57%, compared to the
70% average for all sites), college facilities are used more frequently on a relative basis than any
other site (24%, compared to an 8% average). Almost one quarter of all performing arts attenders
surveyed reported last attending a college facility; clearly, the UNLV facilities and presenting
Las Vegas - Mean
Frequency of
Attendance Among
Attenders
3
>
3
-
t/3
m
H
33
•-9
<
Jazz
2.45
2.7
Classical Music
2.66
2.84
Opera
1.39
1.86
Musicals
2.2
2.3
Plays
2.37
2.45
Ballet
1.47
1.77
Other Dance
1.92
2.03
Art Museum/Gallery
3.17
2.62
Arts/Crafts Fair/Festival
2.29
2.66
Historic Park/Monument
3.16
2.85
-26
12 Local Surveys of Arts Participation Summary Report
program play a crucial role in the local performing arts environment, particularly in the areas of
classical music, ballet, musicals, and stage plays.
Parks and open-air facilities are also important venues for Las Vegas, although only two such venues
are listed in this category: the Las Vegas Silver Bowl (capacity 40,000) and the Silver Mountain
Ranch State Park (capacity 1,500). These venues account for 30% of jazz attendance and 16% of
attendance at musical productions.
Unique to the Las Vegas site is the reported utilization of library venues for performances of classical
music, stage plays, and musicals. The Las Vegas - Clark County Library District includes 10
branches with 7 art galleries and various small performance spaces.
Interest in Attending More Frequently
Among those who would like to attend arts events more often, 24% indicated that jazz would be their
top priority, the highest ranking for jazz among all sites. This finding is consistent with the musical
preferences of a younger population, and most likely reflects the desires of local residents to
participate more fully in an entertainment scene loaded with headline jazz artists. Another 25% cited
'Art Museums/Galleries' as their top priority for attending more often. This high rate of interest may
relate to a high public awareness of the area's 12 museums and 150 art galleries (estimated).
In contrast to other urban sites studied, only 18% of Las Vegans who would like to attend arts events
more often expressed any interest in seeing more opera. The equivalent figure for Chicago was 29%
and for Seattle 26%.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the Clark County Parks and Recreation Department
-27
12 Local Surveys of Arts Participation
Summary Report
Reno, Nevada
The twin cities of Reno and Sparks, just east of Lake Tahoe on Interstate-80, have traditionally
served as a gaming and recreation vacation mecca for residents of the San Francisco Bay Area.
Referred to as "the biggest little city in the world," Reno has experienced rapid growth over the past
20 years (much like Las Vegas to the south) and is projected to continue to grow over the coming
decade. With a 1990 census population of 238,887, the area is growing at a rate of approximately
2% per year. Only one-third of households have
children under 18, 45% are renters, and the
median age is about 34 years. The racial
composition of the area is predominantly white
(91%), with approximately 3.5% Native
Americans. People of Spanish origin comprise
about 8.6% of the population. The overall
picture is one of a metropolitan area dominated
by middle and upper-middle class households
including many younger, upwardly mobile
singles and couples just beginning to establish
roots in the community.
About the Sample..,
• 14 ZIP Codes were sampled, covering the
greater Reno/Sparks area.
• sample size = 401
Sample Demographics*
• 50% female, 50% male
• 84% white, not Hispanic
• 4% Native American; 7% Hispanic
• 17% have incomes > $50,000/yr.
• 27% completed college, 6% have graduate
degrees.
* weighted data
Arts Activity in Reno
Parallel to its population growth and
demographic changes, arts activity in Reno is
moving away from traditional European-based
programming to a more diverse assortment of multi-cultural performances and festivals. While local
arts administrators report that efforts to diversify cultural programming have been slow to take hold,
certain events (e.g., Asian Fest, Basque Festival) have been successful. Resident performing arts
producers include the Reno Philharmonic, the Nevada Festival Ballet, the Nevada Opera Association,
and the community-based Reno Little Theatre. Presenting activity takes place primarily at the
University of Nevada-Reno.
In terms of visual arts, three contemporary exhibition
spaces have closed in the past three years due to
financial constraints and controversy surrounding
exhibition of certain works. Local artists report that
the cultural community is slowly maturing through
the provision of support services and the evolution of
community-based organizations which are just
beginning to present cultural events.
Arts Participation in Reno
Participation rates for the seven performing arts
disciplines surveyed range from high to low, closely
reflecting the available supply of programming, with
several exceptions. Attendance at jazz performances
is the second lowest of all 12 sites, although there
does appear to be a fair supply of jazz available in
nightclub settings, often in the city's casino hotels.
Musical theatre (19%) and drama (15%) participation
Reno Cultural Activity
Cultural Attractions
Art Museums
1
Art Galleries
30
Arts/Crafts Fairs/Festivals
50
Historic Parks/Sites/Monuments
50
Performing Arts Activity*
Jazz
235
Classical Music
250
Opera
4
Musicals
5
Plays
30
Ballet
3 !
Other Dance
50
*Number of Reported Performances over a
Recent 12-Month Period
28-
12 Local Surveys of Arts Participation
Summary Report
rates are significantly lower than the averages for all
12 sites (27% and 20%, respectively) and may be
attributed to the low supply of musical theatre and
stage play productions. Reno currently has no
professional theatre company, nor a presenter or
producer of musical theatre. Participation rates for
'Ballet' and 'Other Dance' are within several points of
the 12-site averages; the Nevada Festival Ballet does
occasionally present touring dance companies in Reno,
providing a fair supply of dance performances.
Reno's 9% participation rate for 'Opera' was the second
highest of all 12 sites, behind Broward County (12%).
The supply of opera performances in Reno - 12
performances over the past 12 months - would not tend
to support this figure. One explanation may lie in the
fact that the Nevada Opera Association produces
musical theatre performances during the summer
months; perhaps some respondents incorrectly
identified musical theatre participation as opera
participation.
In terms of attendance at visual arts exhibits and
historic sites, participation rates in Reno are notable in
two categories: 'Arts/Crafts Fairs and Festivals' (62%,
the highest of all 12 sites) and 'Historic
Parks/Monuments' (50%, the third highest of all sites
after Sedona and Santa Clara County). The very high
participation rate for arts and crafts fairs/festivals is
due in part to the preponderance of special events and
festivals taking place in the Reno/Sparks area, almost
all of which have some arts/crafts displays along with
the main fare. Annual events include a Chili Cook-
Off, Rib Cook-Off, Italian Fest, Asian Fest, Reno
Balloon Races (drawing close to 150,000 people over
3 days), and the Reno Air Races (drawing in excess of
200,000). These major events, with sponsorship from
the local casinos, generally have modest displays of art
and craft work. One specialty event is the annual
Holiday Season Crafts Fair sponsored by the
Reno/Sparks Convention & Visitors Authority, where
holiday-oriented craft work is available for sale each
December.
The fact that one of every two survey respondents
reported visiting an historic park/site or monument
over the past year is also remarkable, and indicates that
Reno residents partake of nearby historical attractions
on a regular basis. Among those who reported visiting an historic park/site or monument over the
past year, the average frequency of participation was 3.51 times, somewhat higher than the average
figure of 2.85 times for all 12 sites combined. In addition to its own district of historic homes, Reno
Reno Arts
Participation
Rates
©
s
f
I
GO
d
<
CORE DISCIPLINES
Jazz
10%
15%
Classical Music
18%
20%
Opera
9%
6%
Musicals
19%
27%
Plays
15%
20%
Ballet
7%
7%
Other Dance
12%
10%
Art Museum/Gallery
41%
42%
Any of 8 Core Disciplines
57%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
62%
49%
Attend Movie Theater
68%
73%
Historic Park/Monument
50%
44%
LITERATURE
Read Books for Pleasure
76%
73%
Read Plays or Poetry or Novels
76%
69%
Read Plays
9%
8%
Read Poetry
35%
29%
Read Novels/Short Stories
73%
64%
Hear Poetry
14%
15%
Hear Novels/Books
13%
13%
TELEVISION EXPOSURE
Jazz
35%
36%
Classical Music
43%
44%
Opera
20%
23%
Musicals
28%
29%
Plays
25%
27%
Any Dance
37%
36%
Artists/Art/Art Museums
46%
43%
Any TV Exposure
77%
75%
RADIO OR RECORDINGS
Jazz
46%
51%
Classical Music
61%
61%
Opera
22%
28%
Musicals
16%
23%
Plays
8%
10%
Any Radio/Recordings
74%.
77%
29
12 Local Surveys of Arts Participation
Summary Report
Reno Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
2
450
7
740
3
600
1
300
13
2090
301 - 850
0
0
1
500
1
615
3
1500
5
2615
851 - 1500
1
1428
0
0
0
0
1
1500
2
2928
1501 - 2500
2
4000
0
0
0
0
0
0
2
4000
Over 2501
1
5000
0
0
0
0
1
5700
2
10700
Total Seat Count by Type
6
10878
8
1240
4
1215
6
9000
24
22333
is also close to the historic towns of Carson City and Virginia City which are noted visitor
destinations and heritage tourism sites. Additionally, the Pony Express Trail, Dormer Pass historic
site, and several historic markers in state and national parks are all within a short drive of the
Reno/Sparks area.
Reno residents appear to be voracious readers, recording the highest percentage of all 12 sites for the
category "read plays, poetry, or novels" (76%). When the figure is broken down for each type of
literature, Reno ranks first in the "reading novels/short stories" category (73%) and is second only to
Sedona in the "read poetry" category. Consistent with the literature participation rates of the Rural
Nevada site, it appears that the literary tradition of the western U.S. is flourishing in the Reno/Sparks
metropolitan area, as well.
With regard to arts participation through the electronic
media and recordings, respondents in the Reno sample
report average participation rates in comparison to the
other sites, although participation through audio
recordings is lower in several categories. Reno
residents appear to be less likely than respondents in
other cities to listen to recordings of opera or musical
theatre on the radio, or on records, tapes, or CD's.
Venue Types Attended
Traditional venues were last attended by 64% of all
Reno arts audiences, compared to a 70% average for
all 12 sites. Among the traditional venue types,
theatres (39%) and college facilities (10%) were used
somewhat more frequently than average, while
concert halls or opera houses were attended less
frequently (10%). Two large hotel venues, John
Ascuaga's Nugget and the Reno Hilton, each seat
2,000 and are primarily used for dinner theatre.
Musical theatre attenders most likely classified these two large venues as theatres or nightclubs,
rather than dinner theatres. This confusion provides an example of the subjective nature of venue
type definitions.
Reno - Mean
Frequency of
Attendance Among
Attenders
e
e
OB
H
MM
-
<
Jazz
3.25
2.7
Classical Music
2.63
2.84
Opera
1.93
1.86
Musicals
2.04
2.3
Plays
2.08
2.45
Ballet
2.01
1.77
Other Dance
2.02
2.03
Art Museum/Gallery
2.59
2.62
Arts/Crafts Fair/Festival
2.49
2.66
Historic Park/Monument
3.51
2.85
30
12 Local Surveys of Arts Participation Summary Report
Attendance at 'Nightclubs/jazz clubs', at 16%, is the highest for any site. Musicals and jazz are the
primary disciplines presented in 'Nightclubs/jazz clubs', although a number of respondents reported
attending ballet and other dance performances at these venues. High rates of arts attendance at
nightclubs/jazz clubs are unique to the Nevada sites and are clear evidence of the gaming industry's
contribution to entertainment programming and the local facility inventory.
Interest in Attending More Often
It is worth noting that like their neighbors in rural areas of the state, residents of Reno/Sparks listed
"visiting art museums" as the single activity they would most like to do more often (25%, compared
to 16% for jazz concerts). The data also seem to support the notion that there is an unmet demand for
cultural events in the area: 71% said they would like to attend cultural events more often, the third
highest percentage of all sites. When asked why they hadn't attended more often, fully 20%
mentioned "cost of tickets" as a primary reason, the third highest percentage citing prohibitive ticket
prices out of all 12 sites.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the Sierra Arts Foundation.
31-
12 Local Surveys of Arts Participation
Summary Report
Rural Nevada
The Rural Nevada site is composed of the entire state excluding the metropolitan areas of
Reno/Sparks and Las Vegas and includes ten towns ranging in population from 1,000 (in Lincoln
County) to 40,000 (Carson City). The 1990
census count for this area was 140,683, of whom
91% are white, 3.5% Native American, and 8.6%
of Spanish origin. Nearly half of the households
have children under age 18, and almost 38% of
residents live in areas classified as "rural".
Education levels are relatively low, with 42%
listing high school graduation as the highest grade
completed and only 14% being college graduates.
The area includes relatively high concentrations
About the Sample...
« The Rural Nevada site consisted of ten
communities - Carson City, Ely,
Elko/Carlin, Fallon, Minden/Gardenville,
Lincoln County, Tomopah/GoIdfielcL
Virginia City, Winnemucca, and Yerrington.
The sample was allocated to the ten
communities proportional to their
population share. .
• sample size » 401
Sample Demographics*
47% female, 53% male
82% white, not Hispanic
6% Native American; 10% Hispanic
17% have incomes > $50,000/yr.
19% completed college,
6% have graduate degree.
*weighted data
of upper-middle and middle income families;
younger, upwardly mobile singles and couples;
and older, lower income working and retired
couples.
When considering this site, it is important to note
that "rural" does not necessarily mean
agricultural, but rather implies isolation from
urban areas. Some of the smaller communities
included in this site are, in fact, home to many
professionals and employees of Nevada's casinos,
military bases, and community colleges. Local
representatives report that arts performances and exhibits are frequently attended by ranchers and
schoolteachers. In one sense, the isolated towns are extremely supportive of cultural programming -
often the "only game in town" as far as social and
entertainment activity.
Arts Activity in Rural Nevada
A wide range of arts and cultural activity is found
across the state, evidenced by successful community
theatre companies and presenting organizations which
offer touring attractions. Representatives of cultural
organizations indicate that audiences are growing
more reluctant to attend experimental or non-
traditional arts programs. Accordingly, presenters are
offering more traditional fare and theatre companies
are sticking with the classics. There does not appear to
be a strong correlation between size of community
and arts activity, and it has been reported that
productions and touring arts presentations in some of
the smallest towns (Yerrington, Gardnerville, Minden,
etc.) outweighs the cultural activity in Carson City
(which is also close enough to Reno and South Lake
Tahoe for arts patrons to travel for programs).
Rural Nevada Cultural Activity
Cultural Attractions
Art Museums
11
Art Galleries
9
Arts/Crafts Fairs/Festivals
19
Historic Parks/Sites/Monuments
12
Performing Arts Activity*
Jazz
13
Classical Music
29
Opera
1
Musicals
13
Plays
28
Ballet
3
Other Dance
17
*Number of Reported Performances over a
Recent 12-Month Period
32-
12 Local Surveys of Arts Participation
Summary Report
Arts Participation in Rural Nevada
In terms of participation, attendance rates for five of the
seven performing arts disciplines surveyed are well below
the averages for the 12 sites; these lower rates reflect the
relatively low supply of programs in and isolation of the
state's small towns. Two exceptions can be found in the
categories of 'Ballet' (5th of 12 sites) and 'Other Dance'
(equal to the average for all sites). The higher rates of
attendance for ballet and dance performances have three
possible explanations. First, touring ballet companies -
with underwriting from the Western States Arts Federation
(WESTAF) and the Nevada Presenters Network -
regularly visit several of the towns in the Rural Nevada
site. Additionally, many of the municipalities have active
ballet and dance schools, whose dance recitals featuring
student performers are well attended. Third, at least three
of the communities have recently hosted performances by
a touring Ballet Folklorico troupe. Attendance at these
performances may have been considered as 'Ballet'
participation by survey respondents, regardless of the
actual genre of dance performed.
Participation rates for 'Art Museums/Galleries' and
'Historic Sites' are within a few percentage points of the
12-site averages, while attendance at 'Art/Crafts Fair or
Festival' is significantly higher (56%) than the average for
all 12 sites (49%). Members of the local communities
indicate that festivals and art exhibits often take place in
venues such as community centers and libraries and that
they are quite accessible to the general public (more so
than, say, art galleries in urban settings). Reportedly, it is
also not uncommon to drive in excess of 100 miles for
events and exhibits in neighboring communities.
Frequency of attendance among audiences is lower than
average for all disciplines except 'Art Museums/Galleries'
and 'Historic Sites', for which the mean frequency of
attendance is somewhat higher than the average. The low
frequency of attendance figures for performing arts
disciplines may be attributed both to the limited supply of
programming and to the long distances separating
respondents and venues.
Perhaps the most fascinating finding from this research is
that 20% of respondents reported attending a live poetry reading over the past year, the third highest
participation rate in this category for all 12 sites (after Sedona, AZ and Dade County, FL). One
annual event which accounts for a good portion of this response is Elko's Cowboy Poetry Festival,
which draws visitors from throughout the nation to experience one of the West's oldest traditions:
the cowboy poet who recites verse from memory, often around a campfire setting. Even more
surprising, however, are reports of frequent poetry readings taking place throughout the state in bars,
Rural Nevada
Arts Participation
Rates
cs
>
Z
S
s
as
§
VX
g
CO
3
CORE DISCIPLINES
Jazz
7%
15%
Classical Music
10%
20%
Opera
2%
6%
Musicals
12%
27%
Plays
12%
20%
Ballet
8%
7%
Other Dance
10%
10%
Art Museum/Gallery
39%
42%
Any of 8 Core Disciplines
52%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
56%
49%
Attend Movie Theater
63%
73%
Historic Park/Monument
42%
44%
LITERATURE
Read Books for Pleasure
74%
73%
Read Plays or Poetry or Novels
71%
69%
Read Plays
6%
8%
Read Poetry
32%
29%
Read Novels/Short Stories
66%
64%
Hear Poetry
20%
15%
Hear Novels/Books
12%
13%
TELEVISION EXPOSURE
Jazz
27%
36%
Classical Music
32%
44%
Opera
13%
23%
Musicals
20%
29%
Plays
19%
27%
Any Dance
32%
36%
Artists/Art/Art Museums
41%
43%
Any TV Exposure
67%
75%
RADIO OR RECORDINGS
Jazz
36%
51%
Classical Music
51%
61%
Opera
14%
28%
Musicals
16%
23%
Plays
7%
10%
Any Radio/Recordings
62%
77%
-33
12 Local Surveys of Arts Participation
Summary Report
Rural Nevada
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
7
1355
9
880
3
300
33
4785
52
7320
301 - 850
7
3990
1
550
0
0
20
10120
28
14660
851 - 1500
1
924
0
0
0
0
3
3800
4
4724
1501 - 2500
0
0
0
0
0
0
1
2500
1
2500
Over 2501
0
0
0
0
0
0
2
6500
2
6500
Total Seat Count by Type
15
6269
10
1430
3
300
59
27705
87
35704
libraries, and alternative settings. Aside from the cowboy poetry tradition, there appears to be a
fascination with the spoken word and the traditional art of storytelling in this rural western state.
Many contemporary American authors have chosen to write about and/or live in the western and
Mountain states and appear to be contributing to an historic tradition by helping stimulate a renewed
interest in literary pursuits by residents of Nevada.
In terms of media exposure to the arts, participation rates for residents of rural Nevada are generally
well below those for the other sites; these lower rates reflect a relatively low supply of programming.
The rate for overall exposure to radio broadcasts or recordings of traditional arts - 62% - is, in fact,
the lowest of all 12 sites, almost certainly because of the dearth of radio stations available to
residents of this vast state.
Venue Types Attended
Several striking differences are apparent between the
venue types attended by Rural Nevada audiences and
by respondents in other survey sites. As would be
expected, fewer "traditional" venue types were
attended by arts participators in the rural Nevada site.
The category 'Concert Hall or Opera House' only
accounted for 7% of attendance in comparison to an
average of 18% for all 12 sites combined. 'Civic
Centers', on the other hand, were utilized by more than
twice as many Rural Nevada arts attenders (25%, ranks
first). These facilities, which are used for all types of
performances, include community and convention
centers (e.g., Fallon Community Center, seating 450;
Wellington Community Hall, seating 250; etc.) located
in most of the small communities scattered around the
state.
Rural Nevada -
Mean Frequency of
Attendance Among
Attenders
08
>
41
z
2
s
OS
H
1—1
<
Jazz
2.55
2.7
Classical Music
2.51
2.84
Opera
1.17
1.86
Musicals
1.53
2.3
Plays
1.48
2.45
Ballet
1.5
1.77
Other Dance
1.64
2.03
Art Museum/Gallery
2.7
2.62
Arts/Crafts Fair/Festival
2.19
2.66
Historic Park/Monument
3.11
2.85
All three of the Nevada sites participating in this study showed high utilization of 'Nightclub/Jazz
club' venues, reflecting the abundance of programming in casinos and nightclubs supported by the
gaming industry. Not only jazz attenders used these venues, but also attenders of 'Musicals' and
'Other Dance'. Finally, 'Secondary Schools' also serve a disproportionate number of arts attenders in
Rural Nevada (9%, ranks first). School facilities are found throughout the ten communities
comprising this site, primarily small theatres in the 200 to 700-seat range.
34-
12 Local Surveys of Arts Participation Summary Report
Interest in Attending More Often
64% of rural Nevada respondents indicated an interest in attending cultural events more often. When
asked about the single cultural activity that they would like to do more often, 'Art Museums/
Galleries' were cited by 36% of all respondents - the highest percentage interested in any single
activity across all 12 sites. The geographical isolation of respondents is clearly a deterrent to
increased arts attendance. When asked about the primary reason for not attending arts events more
frequently, 26% indicated 'distance/travel time/inconvenient location' as the most significant factor.
This reason is the most frequently cited barrier to attendance for this site, and Rural Nevada also has
the highest response rate in this category among all sites.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Special thanks to the Nevada State Council on the Arts for collecting and compiling information on arts activities and
venues from 10 communities in Rural Nevada.
35
12 Local Surveys of Arts Participation
Summary Report
Sedona, Arizona
The Greater Sedona area has grown rapidly over the past decades, from a 1970 population of 8,200 to
more than 15,500 in 1990. The population is largely white, upper middle income, and almost a third
are classified as single. Education levels are significantly higher than the national average. The
overall picture is one of a fairly homogeneous community of middle and upper-middle class
households with few at the extremes of wealth or
poverty. Seniors comprise almost a quarter of all
households.
Arts Activity in Sedona
Sedona is remarkable for its large population of
visual artists and art galleries. Over the past
decades, artists were drawn to the area's scenic
beauty and affordable living and studio space.
Commercial art galleries soon followed,
capitalizing on the influx of visitors and growing
population of upper income residents.
Rising interest in the "American Southwest"
cultural aesthetic, especially in art, architecture
and interior design, has helped to position
Sedona (along with Flagstaff, Scottsdale, Santa
Fe and Albuquerque) at the forefront of interest
in Native American-inspired and traditional design, arts and crafts. Three historical museums
showcasing local and Native American history are located within a 30-mile radius of Sedona.
About the Sample...
* telephone exchanges 282 and 284 were
sampled (Area Code 602)
• 91% reside in ZIP Code 86336.
♦ includes households in southern Coconino
and western Yavapai counties
• sample size = 402
Sample Demographics*
54% female, 46% male
91 % white, not Hispanic
17% have incomes > $50,000/yr.
35% completed college;
8% have graduate degrees.
^weighted data
Performing arts presenters in Sedona take advantage
of scenic outdoor settings, notably the annual Jazz on
the Rocks festival, which draws close to 5,000 people
each summer. Phoenix residents (127 miles to the
south) account for nearly half of the audience for this
popular event, while another third of the audience is
drawn from out-of-state.
Residents of Sedona are able to partake of community
theatre productions and a limited supply of touring
arts events, but they frequently travel to nearby
Flagstaff and even to Phoenix for large scale musical
theatre, opera, and classical music performances.
Representatives of the arts community report that the
lack of a large performance facility (1,000+ seats) or
of a suitably-equipped smaller theatre (250-350 seats)
limits the supply of performing arts programs.
Arts Participation in Sedona
Sedona's high 'Jazz' participation rate of 19% (ranks
#2 of 12 sites) may be attributed in part to the popular Jazz on the Rocks event held each summer,
since 36% of jazz attenders reported Park or Open- Air Facility' as the venue they most recently
Sedona Cultural Activity
Cultural Attractions
Art Museums
1
Art Galleries
28
Arts/Crafts Fairs/Festivals
7
Historic Parks/Sites/Monuments
15
Performing Arts Activity*
Jazz
10
Classical Music
30
Opera
4
Musicals
40
Plays
75
Ballet
2
Other Dance
6
*Number of Reported Performances over a
Recent 12-Month Period
36
12 Local Surveys of Arts Participation
Summary Report
attended for jazz. Another 21% of jazz attenders saw
their last jazz performance in a nightclub/jazz club.
Although jazz participation is relatively high, Sedona
residents who attend jazz go less frequently than their
counterparts in other cities (mean frequency of 1.7
times per jazz attender, compared to a 12-site average
of 2.7 times).
Sedona respondents also reported comparatively high
participation rates for Plays' (ranks 2nd) and 'Other
Dance' (ranks 1st with Seattle). The high participation
rate for 'Other Dance' can be explained in part by the
activities of two local resident dancers, each of whom
offers classes in modern dance and occasional
performances in the area. Dance participation may
continue to rise, as a local presenting organization
began presenting touring modern dance companies in
1992.
Seventy five performances of non-musical stage plays
were reported - nearly twice as many as any other
discipline for Sedona. "Theatres' (34%), followed by
Park or Open- Air Facility' (23%) were the most
frequently attended venue types for Plays'.
With 15 out of 20 venues seating 300 or less, Sedona's
facility inventory favors the types of performances
which are best presented in intimate spaces, including
plays and small-scale musical productions. Moreover,
the predominance of 'alternative' venue types in
Sedona (12 out of 20, not including nightclubs)
promotes the kinds of performances which can best be
adapted to non-traditional performing arts spaces such
as churches, resorts, open-air facilities, and local
schools.
Sedona's small population base and lack of larger
performing arts venues limits the supply of opera,
ballet, and classical music, although the Sedona
Chamber Music Society and the Verde Valley Concert
Association present touring attractions from time to
time. The relatively low participation rates for
traditional performing arts disciplines correspond to
the limited supply of product. Out-of town arts
participation (including organized bus excursions to
Flagstaff and Phoenix) also factors into these rates.
Although Sedona has no college/university performing
arts facilities, 23% of classical music attenders saw
their most recent concert at a college facility - most likely
campus in Flagstaff.
Sedona Arts
Participation
Rates
es
s
e
TS
1
i— <
-J
<
LIVE PERFORMING ARTS
Jazz
19%
15%
Classical Music
17%
20%
Opera
4%
6%
Musicals
24%
27%
Plays
25%
20%
Ballet
3%
7%
Other Dance
13%
10%
Any of7Perf. Arts Disciplines
54%
52%
•
OTHER DISCIPLINES
Art Museum/Gallery
77%
42%
Arts/Crafts Fair/Festival
57%
49%
Attend Movie Theater
84%
73%
Historic Park/Monument
60%
44%
LITERATURE
Read Books for Pleasure
82%
73%
Read Plays or Poetry or Novels
74%
69%
Read Plays
9%
8%
Read Poetry
42%
29%
Read Novels/Short Stories
70%
64%
Hear Poetry
22%
15%
Hear Novels/Books
20%
13%
TELEVISION EXPOSURE
Jazz
29%
36%
Classical Music
40%
44%
Opera
17%
23%
Musicals
33%
29%
Plays
34%
27%
Any Dance
41%
36%
Artists/Art/Art Museums
61%
43%
Any TV Exposure
82%
75%
RADIO OR RECORDINGS
Jazz
52%
51%
Classical Music
70%
61%
Opera
21%
28%
Musicals
22%
23%
Plays
13%
10%
Any Radio/Recordings
82%
77%
referring to Northern Arizona University's
-37
12 Local Surveys of Arts Participation
Summary Report
Sedona Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL |
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
1
170
7
540
7
710
15
1420
301 - 850
3
1400
3
1400
851 - 1500
2
2000
2
2000
1501 - 2500
0
0
Over 2501
1
5000
1
5000
Total Seat Count by Type
1
170
7
540
0
0
13
9110
21
9820
An unprecedented 77% participation rate for 'Art Museums/Galleries' places Sedona first among the
twelve cities studied by a wide margin (Seattle is 2nd with a 52% rate). Sedona not only has the
highest participation rate in this category, but the mean frequency of participation (3.95 times for
Sedona) is significantly higher than the average figure for all 12 sites (2.62). The large number of
artists and art galleries and high level of visual arts activity in the region (i.e. studio tours, gallery
walks, etc.) clearly translates into high public participation and proves that this community enjoys an
intensity of interest in the visual arts unique to a handful of American cities.
The high level of interest in the visual arts also appears to carryover into other artistic disciplines;
Sedona respondents reported high participation rates for literature, film, historic sites, and performing
arts through the media. Sedona's 60% public participation rate for 'Historic Sites' (ranks 1st among
the 12 sites) most likely relates to several factors, including the large number of Native American
landmarks and the historical character of the area. This high rate is underscored by a comparatively
high mean frequency of participation (3.9 times) compared to other sites.
Top honors also go to Sedona for attendance at movie
theatres. Fully 84% of the sampled households
reported attending the cinema over the past year - the
highest participation rate for any category for all of the
12 sites. These data may reflect both an interest in
film and a limited supply of entertainment alternatives
in this geographically-isolated community. According
to local representatives, going to the movies is a
frequent social activity in Sedona.
Sedona residents also show impressive participation
rates for literature, ranking high or highest in almost
every category. Most notable are participation rates
for reading poetry (42%, ranks first) and for attending
readings of poetry (22%, ranks first). Sedona also
ranks first (tied with Seattle) for 'Reading Books for
Pleasure'. Although figures are not available, a sizable
community of writers may partially account for a high awareness of literature, in addition to the large
percentages of seniors with more leisure time to read.
Sedona - Mean
Frequency of
Attendance Among
Attenders
cs
B
e
5
B
H
55
<
Jazz
1.70
2.70
Classical Music
2.80
2.84
Opera
2.72
1.86
Musicals
2.23
2.30
Plays
1.59
2.45
Ballet
1.23
1.77
Other Dance
3.32
2.03
Art Museum/Gallery
3.95
2.62
Arts/Crafts Fair/Festival
2.49
2.66
Historic Park/Monument
3.90
2.85
38-
12 Local Surveys of Arts Participation Summary Report
Arts Participation through the Media
Despite Sedona's distance from any large urban area, media participation rates for the arts - both on
television (82% report watching at least one arts program) and radio/recordings (also 82%) - are high
across all disciplines. The mountainous landscape of the Sedona area limits the reach of broadcast
television, creating a strong market for cable TV. Thus, a preponderance of homes have access to
arts programming on cable channels. Additionally, Phoenix's public television station (KAET) draws
many members from the Sedona area, and students at the Sedona Arts Center are encouraged to
watch "how-to" visual arts classes offered on KAET. Also contributing to the high media arts
participation rates may be the limited number of live entertainment alternatives, the availability of
more leisure time for some residents (i.e. seniors), and a high community consciousness of the arts
and culture.
Venues Types Attended
Overall, traditional performing arts venues (i.e. theatres, concert halls, opera houses, etc.) were last
attended by 60% of performing arts attenders in Sedona. Only Las Vegas has a lower figure, at 57%.
Instead, Sedona arts attenders make use of Parks and Open- Air Facilities' (14%, ranks first),
'Museums and Galleries' (8%, ranks first), and 'Secondary Schools' (6%, ranks second to Rural
Nevada). Surprisingly, the types of performances most frequently seen in Sedona's art galleries are
musicals and stage plays, not classical music. Local school facilities are utilized most frequently for
'Classical Music', 'Jazz', and 'Other Dance.'
Interest in Attending More Frequently
With the large supply of art galleries, it is little wonder that residents in this community express a
strong desire to visit museums and galleries more often. Among those who would like to participate
in the arts more frequently, 74% expressed an interest in attending museums/galleries more
frequently, and 27% singled out museums/galleries as the one cultural activity that they would like to
do more often. Across all 12 sites, 'Art Museums/Galleries' consistently garner the highest
percentage of interest among those who would like to participate in the arts more often, although by a
slimmer margin than at Sedona. 'Musicals' (63%) and Plays' (60%) also rank high in terms of
interest among those who would like to attend more frequently, as opposed to 'Opera' (17%, ranks
last), which generates relatively little interest in Sedona.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for the number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the Sedona Department of Arts and Culture.
-39
12 Local Surveys of Arts Participation
Summary Report
Winston- Salem, North Carolina
Forsyth County is situated just east of the Appalachian mountain range among the lush green hills
and tobacco farms of central North Carolina; it includes Winston-Salem and several rural
communities surrounding the city. Two neighboring cities - Greensboro (20-miles to the east) and
High Point to the southeast, join Winston-Salem to form a triangle of population centers within easy
driving distance of each other. Among the
county's 1990 population of 265,878, 74% are
white, 25% African- American, and other racial
minorities comprise only 1% of the population.
More than one-third of households in the area
have children under 18.
About the Sample...
• Sampled area includes all of Forsyth
County, North Carolina, including Winston-
Salem. (Does not include Greensboro or
High Point.)
• sample size = 403
Sample Pemographjcs*
54% female, 46% male
77% white, not Hispanic; 20% Black
23% have incomes > $50,000/yr.
28% completed college;
7% have graduate degrees
*weighted data
Education levels for Forsyth County exceed
national figures but contrast sharply to other
sites. While 24% of Forsyth County adults (25+)
have Bachelor's degrees, this figure rises to 33%
for both Santa Clara County and King
County/Seattle, but falls to 19% for Broward
County. The U.S. average is 20%.
In addition to the large percentages of country
families and low-income urban dwellers, Forsyth
County also includes strong numbers of affluent
families (almost 10% of all households). With estimated 1992 median household income at $32,320,
the area closely resembles Broward County, FL from an economic standpoint and compares
favorably to the $29,920 median income for
Allegheny County, PA (Pittsburgh).
Arts Activity in Forsyth County
The Winston-Salem area benefits from a wealth of
activity in both performing and visual arts disciplines.
The Winston-Salem Symphony and the Piedmont
Opera Theatre contribute to a lively musical scene,
although local productions in the areas of chamber
music, choral music, and dance are limited. In part,
the generally high level of arts activity is due to the
presence of several colleges and universities with
active arts programs, including Wake Forest,
Winston-Salem State, Salem College, and especially
the North Carolina School of the Arts, which presents
over 500 performances in five theatres annually
(including student productions, faculty recitals, etc.).
Jazz music performances are limited, for the most
part, to activity in local clubs. Representatives of the
local cultural community indicate a need for facilities
in the range of 750 - 900 seats and a major hall of at least 3,500 seats. Reynolds Auditorium, one of
the area's larger facilities (capacity 1,922), badly needs capital improvements according to local
sources.
Winston-Salem Cultural Activity
Cultural Attractions
Art Museums
4
Art Galleries
27
Arts/Crafts Fairs/Festivals
15
Historic Parks/Sites/Monuments
4
Performing Arts Activity*
Jazz
30
Classical Music
83
Opera
11
Musicals
36
Plays
190
Ballet
12
Other Dance
31 !
*Number of Reported Performances over a
Recent 12-Month Period
■40-
12 Local Surveys of Arts Participation
Summary Report
A variety of high quality crafts shows, sponsored by
the Piedmont Craftsmen, the Carolina Crafters, and
the Winston-Salem Crafts Guild, takes place annually
at the Convention Center. Several small community
non-profit galleries also offer exhibition opportunities
for local artisans. Old Salem, a major historical
attraction, draws many thousands of visitors to the
area annually and serves as a focal point for local
cultural activity.
Arts Participation in Forsyth County
Generally, arts participation rates in Forsyth County
are average or below average compared to the 1 1 other
sites studied. Participation rates for 'Jazz' (13%),
'Classical Music' (19%), 'Opera' (4%), 'Ballet' (7%),
and 'Other Dance' (9%) are not significantly different
than average figures for the combined 12 sites.
Overall, only 50% of Forsyth County respondents
reported attending at least one of the 8 "core"
disciplines (7 performing arts disciplines plus 'Art
Museums/Galleries') surveyed - the lowest rate for any
site. This rate is comparable to Rural Nevada (52%)
and Dade County, FL (52%) but well behind the larger
urban sites studied (e.g., Seattle at 69% "core"
participation). Mean frequency of attendance among
those who do participate is also lower than average
across all performing arts disciplines.
Forsyth County's strong participation rate for 'Plays'
(22%, compared to a 12-site average of 20%) is linked
to a healthy theatre community, both academic and
community-based. In addition to frequent student
theatre productions, the North Carolina School of the
Arts also presents performances by touring companies.
Wake Forest University also has an active drama
department. Winston-Salem is home of the North
Carolina Black Repertory Theatre, which every other
year hosts the National Black Theatre Festival, a
major cultural and tourist attraction with some 75
performances in 2 weeks.
Based in High Point, a short distance to the southeast,
the North Carolina Shakespeare Festival attracts
audiences from a wide area and contributes to the
supply of theatre activity in Forsyth County.
In contrast to the solid participation rate for Plays',
only 17% of Forsyth County respondents reported
attending a musical theatre production, compared to a 12-site average of 27%, and the second lowest
Winston-Salem
Arts Participation
Rates
E
I
e
2
in
s
a
I
w
J
<
CORE DISCIPLINES
Jazz
13%
15%
Classical Music
19%
20%
Opera
4%
6%
Musicals
17%
27%
Plays
22%
20%
Ballet
7%
7%
Other Dance
9%
10%
Art Museum/Gallery
32%
42%
Any of 8 Core Disciplines
50%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
45%
49%
Attend Movie Theater
65%
73%
Historic Park/Monument
46%
44%
LITERATURE
Read Books for Pleasure
69%
73%
Read Plays or Poetry or Novels
66%
69%
Read Plays
7%
8%
Read Poetry
32%
29%
Read Novels/Short Stories
60%
64%
Hear Poetry
13%
15%
Hear Novels/Books
15%
13%
TELEVISION EXPOSURE
Jazz
30%
36%
Classical Music
36%
44%
Opera
16%
23%
Musicals
26%
29%
Plays
22%
27%
Any Dance
32%
36%
Artists/Art/Art Museums
40%
43%
Any TV Exposure
67%
75%
RADIO OR RECORDINGS
Jazz
43%
51%
Classical Music
58%
61%
Opera
21%
28%
Musicals
14%
23%
Plays
11%
10%
Any Radio/Recordings
70%
77%
41
12 Local Surveys of Arts Participation
Summary Report
Winston-Salem
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL |
SEATING CAPACITY RANGES
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats !
Up to 300
1
294
13
2500
2
388
48
5286
64
8468
301 - 850
2
890
3
1050
4
2346
13
7163
22
11449
851 - 1500
1
1380
11
11893
12
13273
1501 - 2500
1
2000
2
4100
6
12322
9
18422
Over 2501
2
7600
6
72837
8
80437
Total Seat Count by Type
6
10784
16
3550
9
8214
84
109501
115
132049
rate after Rural Nevada. Musical theatre activity is generally limited to presentations and productions
sponsored by the North Carolina School of the Arts. The School's 'Broadway Preview' series serves
as a testing ground for Broadway-bound productions. (Neil Simon's Lost in Yonkers was originally
built by the School.) Touring productions such as Grand Hotel easily sell out the 1,380-seat Stevens
Center, indicating excess market demand for musical theatre. The area lacks a larger venue with the
technical capabilities requisite for major productions.
Contrary to this research, only a small percentage of musical theatre attenders reported last attending
a college facility. These results imply that respondents were generally unable to distinguish between
the different categories of traditional venue types (concert hall/opera house, civic center, theatre, and
college facility) which are not mutually exclusive. (For example, a concert hall may also be a college
facility, and either answer would be correct.)
Participation rates for 'Art Museums/Galleries', at 32%, is
also the lowest of any site studied, although 4 museums
and 27 art galleries serve the area. Attendance at
arts/crafts fairs or festivals is substantially higher, at 45%,
although this figure is still below average in comparison
to other sites. The historic character of the area,
highlighted by Old Salem, probably accounts for higher-
than-average participation in 'Historic Sites' (46%,
comparable to Philadelphia's 47% rate in this category).
Literature participation rates are average or below
average, with the exception of reading poetry, for which a
32% participation rate was reported (compares to a 12-site
average of 29%). Forsyth County respondents are also
somewhat more likely than their counterparts in other
cities (urban areas, especially) to attend readings of books,
with a participation rate of 15% in this category.
Two-thirds of all respondents (67%) reported some exposure to the arts on television, although this
figure ranks last among the 12 sites, along with Rural Nevada. The area's relatively small population
base and its distance from any large urban area limit the supply of cultural programming on
television, which may account for these depressed rates. Similarly, exposure to the arts on the radio
is limited.
Winston-Salem -
Mean Frequency of
Attendance Among
Attenders
E
—
I
s
e
(0
e
a
H
<
Jau.
2.15
2.7
Classical Music
2.38
2.84
Opera
1.4
1.86
Musicals
2.07
2.3
Plays
1.87
2.45
Ballet
1.37
1.77
Other Dance
1.75
2.03
Art Museum/Gallery
2.98
2.62
Arts/Crafts Fair/Festival
2.07
2.66
Historic Park/Monument
2.48
2.85
-42
12 Local Surveys of Arts Participation Summary Report
Generally, lower education levels compared to other sites combined with limited access to certain
types of arts events seem to keep Forsyth County's arts participation rates at average levels.
Venue Types Attended
More than any other site, Forsyth County respondents utilize traditional performing arts venue types,
with 82% of all audiences reporting attendance at a theatre (41%), a concert hall/opera house (19%),
a civic center (13%), or a college facility (10%). Considering the predominance of programming
offered by educational institutions, attendance at college facilities may be under-reported/confused
with other venue types. Despite the high rate of attendance at traditional halls, alternative venues are
not lacking in the facility inventory. These spaces range from small rooms in libraries and
museums/galleries to 14 mid-sized theatres and auditoria in secondary schools throughout the area.
Church spaces, some quite large, are also available for performances, although reported utilization of
these spaces (for the disciplines covered) was very low.
Also of interest is the low utilization of Parks and Open- Air Facilities' - 3%, the lowest figure in this
category for any site. Jazz, the most common type of outdoor programming, is seen indoors by over
90% of Forsyth County jazz attenders. Although six open-air facilities including Winston Square
Park, Tanglewood Park, and Miller Park are part of the local facility inventory, they are used
infrequently for performing arts events. (The Symphony offers summer concerts at Tanglewood
Park.)
Interest in Attending More Often
Forsyth County respondents showed comparatively high interest levels in attending classical music
concerts more frequently (15% designated 'Classical Music' their top priority, ranks 1st with Reno,
NV) but a distinct lack of interest in seeing more 'Opera' (top priority for only 2%, ranks last).
Interest in attending Plays' more frequently was also higher than average (16% specified Plays' as
the single type of event that they would like to attend more often, compared to 12% for all sites).
These results provide another example of high participation and high interest in the same discipline.
Overall, just 57% of those surveyed expressed an interest in attending arts events more often, the
lowest figure for any site by 7%.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the Arts Council Winston-Salem/Forsyth County.
43-
12 Local Surveys of Arts Participation
Summary Report
King County, Washington
King County, Washington had just over 1.5 million residents in 1990, of whom approximately one-
third lived in the City of Seattle. Between 1980 and 1990, the area's population grew nearly 20%.
Some 31 municipalities comprise King County and an additional one-third of the population resides
in unincorporated rural and suburban areas west
of Lake Washington. 1 990 median household
income for King County was $38,243, with
nearly 34% of households having incomes over
$50,000. Of the 12 sites studied, Seattle most
closely resembles Chicago and Philadelphia in
terms of affluence (despite its comparatively
small size), and periodically receives mention as
one of America's most livable cities.
About the Sample..*
• Sampled area includes all of King County,
Washington, including Seattle and Bellevue.
• sample size - 406
Sampje peroqgraphfcs*
5.1% female, 49% male
87% white, not Hispanic
4% African- American, 6% Asian
27% have incomes >$50,000/yr.
41% completed college;
10% have graduate degrees
Weighted data
With a white population of 88%, King County's
African- American and Asian populations each
represent just over 4%, with Hispanic residents
accounting for only 2.1%. Households with
children under 18 represent just over one-third of
the total households, the remainder being single
and married couples without children. With 17% of respondents aged 25 - 29 (the largest percentage
in this age category for all 12 sites) and with the largest percentage of college graduates of any site
(46%), King County (and Seattle in particular) continue to earn a reputation as a desirable place for
young people to establish roots.
Arts Activity in King County
The City of Seattle remains the cultural capital of the county, recognized for its world-class opera
company, ballet, and symphony. A new Art Museum and several non-profit exhibition spaces, along
with the University of Washington's exhibition facilities and performing arts presentations, offer a
well-rounded slate of activities. Two of the most vibrant areas of arts activity are Seattle's "fringe"
theatres and the city's modern dance community.
Reportedly, Seattle boasts the most "theatre" per
capita of all U.S. cities. Local arts community
representatives describe a "critical mass, a crucible of
experimentation" in Seattle's theatre community
which is attracting playwrights and actors from across
the country. Nearly fifty small and experimental
theatre ensembles are organized as "Seattle Fringe
Theatres" and present an annual Fringe Theatre
Festival. The modern dance community has also
prospered lately; local choreographers such as Mark Morris have gained international recognition,
and an annual festival of dance (Allegro) draws sizable audiences.
In the remainder of King County, almost half of the municipalities have active arts commissions
involved in programming and services to artists and arts organizations. In the upscale community of
Bellevue, the Bellevue Art Museum and Bellevue Philharmonic as well as the Village Theatre in
Issaquah have become attractions for Seattle residents in addition to serving residents of the outlying
communities. At least two new cities (Federal Way and SeaTac) are pursuing development of arts
King County Cultural Attractions
Art Museums
12
Art Galleries
184
Arts/Crafts Fairs/Festivals
350
Historic Parks/Sites/Monuments
480
-44-
12 Local Surveys of Arts Participation
Summary Report
programs and facilities, while other municipal arts
commissions (Kirkland, Redmond, Kent, Renton,
Issaquah) are involved in presenting and public art
programs.
Community residents report that musical theatre and
classical music performances are most popular
throughout the county, with less jazz, dance, and
opera activity. Arts and crafts festivals are also
popular attractions in many of the localities.
Continued public support of the arts and culture in
King County is guaranteed through a new countywide
Hotel/Motel Tax fund, of which 70% will go to
funding cultural facilities, with another 20% dedicated
to heritage organizations for capital expenditures and
interpretive and educational programs.
Arts Participation in King County
Seattle and King County residents attend most
traditional performing arts disciplines at average rates;
reported attendance at jazz, classical music, opera, and
musical theatre are all within one percentage point of
the 12-site averages and are not significantly different
from several other urban sites studied, including
Pittsburgh and Chicago. However, significantly
higher participation rates for theatre, ballet, and other
dance are remarkable.
Attendance at 'Plays' in King County is the highest of
all 12 sites at 29% (compared to a 12-site average of
20%). As noted above, Seattle is recognized as a
center of theatrical activity in the Pacific Northwest,
with large numbers of both mainstream and "fringe"
theatres (over 75 altogether) supported by a healthy
inventory of small venues in the 100 - 500 seat range.
King County's participation rates for 'Ballet' and
'Other Dance', at 13% each, compare favorably to 12-
site averages of 7% and 10%, respectively. The
Pacific Northwest Ballet, based in Seattle, has
received widespread attention as one of the country's
leading companies and contributes to the area's strong
ballet participation rate. Frequent local dance
productions, spawned by Seattle's thriving modern
dance community, as well as presentations of touring
companies by the University of Washington, may
account for strong participation in 'Other Dance'.
King County Arts
Participation
Rates
s
s
o
U
WD
S
5
B
I
H
i— i
C/3
nJ
J
<
CORE DISCIPLINES
Jazz
16%
15%
Classical Music
20%
20%
Opera
! 7%
6%
Musicals
26%
27%
Plays
29%
20%
Ballet
13%
7%
Other Dance
13%
10%
Art Museum/Gallery
52%
42%
Any of 8 Core Disciplines
69%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
55%
49%
Attend Movie Theater
78%
73%
Historic Park/Monument
44%
44%
LITERATURE
Read Books for Pleasure
82%
73%
Read Plays or Poetry or Novels
75%
69%
Read Plays
9%
8%
Read Poetry
33%
29%
Read Novels/Short Stories
71%
64%
Hear Poetry
16%
15%
Hear Novels/Books
18%
13%
TELEVISION EXPOSURE
Jazz
40%
36%
Classical Music
38%
44%
Opera
21%
23%
Musicals
26%
29%
Plays
26%
27%
Any Dance
36%
36%
Artists/Art/Art Museums
53%
43%
Any TV Exposure
78%
75%
RADIO OR RECORDINGS
Jazz
58%
51%
Classical Music
65%
61%
Opera
28%
28%
Musicals
21%
23%
Plays
10%
10%
Any Radio/Recordings
78%
77%
45
12 Local Surveys of Arts Participation
Summary Report
King County
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Vennes
Total
Seats
Up to 300
21
3550
1
90
2
386
14
3030
38
7056
301 - 850
9
4204
1
450
1
708
6
2585
17
7947
851 - 1500
3
3337
N/A
N/A
1
1206
1
1182
5
5725
1501 - 2500
1
2130
N/A
N/A
N/A
N/A
N/A
N/A
1
2130
Over 2501
2
6071
N/A
N/A
N/A
N/A
N/A
N/A
2
6071 !
Total Seat Count by Type
36
19292
2
540
4
2300
21
6797
63
28929
Among the 12 sites studied, King County records the second highest participation rate for 'Art
Museums/Galleries' (52%, second to Sedona); this rate is significantly higher than Chicago's 42%
rate and Philadelphia's 44% rate. One explanation may lie in the recent opening of the new Seattle
Art Museum and the high community awareness (or "honeymoon effect") associated with the
opening of such a high profile cultural facility. The Bellevue Art Museum and other smaller art
exhibits throughout the county also appear to be drawing sizable audiences. King County also shows
healthy figures for attendance at 'Arts/Crafts Fairs or Festivals' and at 'Movies' (78%, ranks first with
San Jose); both of which are consistent with a youthful population.
Also of particular interest are participation rates for literary pursuits. King County residents rank
first among the 12 sites (82%, tied with Sedona) in the category of 'Reading Books for Pleasure'.
The uniformly high participation rates for other literary categories in comparison to the other survey
sites (ranks 1st, 2nd, or 3rd in all categories) reflect a well-educated population. Also indicative of
the unique cultural environment of Seattle is a high participation rate for attending public readings of
books/novels (18%, second to Sedona, and significantly
higher than any other urban site). Of late, Seattle has
been referred to as the "coffee capital of the nation", with
high per-capita sales of gourmet coffees and a thriving
network of coffee houses and bookstore/cafes which
frequently offer public readings and are patronized
primarily by young people.
The King County site is also noteworthy for its high rates
of television exposure to the arts: 40% viewed a jazz
performance on television (ranks 1st), and 53% watched
at least one visual arts program on television (ranks 2nd).
Reasons for Not Attending More Often
One of the most revealing statistics from the research
concerns the reasons for not attending more frequently.
74% of all King County respondents (the highest figure
for any site studied) expressed a desire to participate in
the arts more frequently. Among these people, 26% cited 'Cost of Tickets' as a reason for not
attending more often; again, this rate was the highest figure among the 12 sites. Several
demographic and economic factors may bear upon this finding. First, the younger population of
Seattle, while interested in attending arts events, has less means to do so by virtue of their lower
King County -
Mean Frequency of
Attendance Among
Attenders
C
S
©
U
WD
C
2
en
in
<
Jazz
2.69
2.7
Classical Music
2.64
2.84
Opera
1.8
1.86
Musicals
2.68
2.3
Plays
2.81
2.45
Ballet
1.52
1.77
Other Dance
2.18
2.03
Art Museum/Gallery
3.26
2.62
Arts/Crafts Fair/Festival
2.59
2.66
Historic Park/Monument
3.23
2.85
-46
12 Local Surveys of Arts Participation Summary Report
incomes. Alternatively, these people may be drawn to the lower-cost ticket prices and non-traditional
programming offered by the many "fringe" theatres and fledgling modern dance companies in the
area.
The overall economic climate of the area also corroborates this finding. High demand for jobs in the
Seattle area tends to depress income levels (particularly in the wake of large-scale layoffs by Boeing),
while the cost of living remains relatively high in comparison to other sites studied. The resulting
pressure on disposable income exacerbates the economic barriers to arts attendance, particularly
among young people.
Venue Types Attended
Over 3/4 of those who reported at least one attendance at a live performance over the past year last
attended a traditional venue ('Concert Hall or Opera House' - 25%, 'Civic Center' - 5%, 'Theatre' -
42%, 'College Facility' - 5%). Attendance at all other venue types, including 'Nightclubs', 'Churches
or Synagogues', and Parks or Open- Air Facilities', was average or below average compared to the
other sites studied. Especially for this site, "purpose-built" facilities tend to be used for their
respective disciplines. For example, 72% of opera attenders last attended an opera house; 72% of
theatre attenders (both musicals and non-musical stage plays) last attended a traditional theatre
venue; 32% of jazz attenders last attended a jazz club; 44% of classical music attenders last attended
a concert hall, etc. From the data collected, the facility inventory appears to complement the supply
of arts activity, at least within the disciplines queried.
Interest in Attending More Often
Nearly three-quarters of all respondents expressed a desire to participate in the arts more often - the
highest figure for any site - and an encouraging figure for the Seattle arts community. Interest levels
in specific disciplines was not significantly different than average figures for all sites, with several
exceptions. 63% expressed an interest in attending 'Plays' more frequently (ranks 1st with Chicago
and Sedona), while 16% indicated that attending more Plays' was their single highest priority (ranks
1st with Winston-Salem). Given the already high participation rate for Plays', this high interest in
attending more theatre reinforces the notion that high participation tends to breed even more interest -
a phenomenon observed throughout this study. Stated another way, the data suggests that supply and
demand (for arts activity) are not necessarily related in the traditional economic sense, but rather can
stimulate each other to achieve higher consumption levels.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for the number and seating capacities of venues, and estimates for the number of cultural attractions provided by
the Seattle Arts Commission. Additional information provided by the King County Arts Commission.
47
12 Local Surveys of Arts Participation
Summary Report
Chicago Metropolitan Area, Illinois
With a 1990 census population of 7.26 million, the Chicago site (including 5 counties) is by far the
most populous of the 12 sites surveyed, providing a sharp contrast to the rural western sites (i.e.,
Sedona, AZ - population 32,094), both geographically and demographically. As is generally true of
major metropolitan areas, demographic data illustrate a diverse population spanning the range from
affluence to poverty and everything in between. 34% of households in this area have incomes over
$50,000, while 31% earn under $25,000.
Seventy-one percent of residents are white, 20%
African- American, 3.5% Asian, and almost 12%
Hispanic/Latino. More than 18% have graduated
from college whereas 17% list eighth grade as the
highest education completed - a polarization
common to large urban areas. The area includes
large percentages of metropolitan singles,
wealthy established families, and struggling
minority singles and couples. Households in the
outlying areas of the sampled geography
(including the communities of Elgin, Aurora, and
Joliet) are more likely to be mainstream families
with average incomes and education, in contrast
to their urban counterparts.
About the Sample.-.
♦ Sampled area includes five northeastern
Illinois counties: Cook, Kane, DuPage,
Lake, McHenry, and Will, representing a
large geography around Chicago.
• sample size = 401
Sample Demographics*
53% female, 47% male
72% white, not Hispanic
15% African-American, 5% Hispanic
28% have incomes > $50,000/yr.
33% completed college;
1 1% have graduate degrees
*weighted data
Arts Activity in Metropolitan Chicago
By any standards, the Chicago area is rich with
both producers and presenters of traditional and
non-traditional performing arts activity. As one
of America's largest cities, Chicago boasts a number of world-class cultural institutions, including the
Chicago Symphony Orchestra, the Lyric Opera of Chicago, the Goodman Theatre, and the Chicago
Art Institute. The Hubbard Street Dance Company, one of the country's most active touring dance
ensembles, makes its home in Chicago, as does the Joseph Holmes Chicago Dance Theatre and
numerous other local companies. Theatre companies proliferate in the Chicago area; some 200 non-
profit theatre companies and more than 80 performing arts facilities of under 300 seats contribute to
one of the nation's healthiest theatre environments. The bi-annual Chicago International Theatre
Festival serves as a focal point of theatrical activity in the region.
Major presenters in the Chicago area include the Auditorium Theatre, Performing Arts Chicago, the
Chicago Jazz Festival, and the Ravinia Festival, in addition to a host of educational institutions with
presenting programs including Northwestern University, DePaul University, Columbia College, and
the University of Chicago.
Measuring Chicago area arts activity in quantitative terms is nearly impossible, barring an
unprecedented research effort. Several arts service organizations track performance activity within
certain disciplines, however, including the Chicago Dance Coalition, the Chicago Music Alliance,
and the League of Chicago Theatres. For example, the Chicago Dance Coalition, with 36 member
dance companies and 25 member choreographers, reported that the 1991-92 Chicago dance season
included 316 performances by both resident and touring (presented) companies. The Chicago Music
Alliance reported 872 classical music performances over a one-year period ending January, 1992 (not
including student or faculty recitals presented by music schools), held in 132 Chicago area venues
ranging from Orchestra Hall to Evanston's First Baptist Church. Further investigation revealed an
-48
12 Local Surveys of Arts Participation
Summary Report
additional 165 performances presented by DePaul and
Northwestern Universities, and another 875 musical
events at libraries, churches, and other non-traditional
venues.
According to representatives of the city's cultural
community, the metropolis model rings true in the
arts world as well, with dichotomies existing between
large and small organizations and downtown versus
suburban performance spaces. As in other major
metropolitan areas, access to performance space in
downtown Chicago is viewed by many as the stepping
stone toward status as a major arts institution.
Challenges facing the Chicago arts community echo
those of other large communities; sources report that
audiences at traditional arts events are "graying" and
that arts organizations throughout the area are
struggling to respond to their increasingly diverse
constituencies.
Arts Participation in Metropolitan Chicago
Chicago area participation rates for the traditional
performing arts disciplines are nearly average
compared to the 12 sites studied, with the exception
of 'Musicals' (32%, ranks second highest of all sites)
and 'Ballet' (tied for 1 1th of all 12 sites). The high
rate of attendance at 'Musicals' is due partly to
Chicago's inclusion on the first-run Broadway road
show circuit as well as the preponderance of theatre
companies whose productions often include musical
theatre. With respect to the low participation rate for
'Ballet', ticket prices and the limited availability of
tickets for performances of Ballet Chicago may
constrain participation within this discipline. This
finding is corroborated by a lower than average
frequency of attendance at ballet performances among
those who do attend the ballet (1.32 avg. annual
attendances for Chicago balletomanes vs. 1.77 for
ballet attenders across all 12 sites).
The relatively low participation rate for 'Opera' (5%,
only rural Nevada, Sedona, Las Vegas, and Winston-
Salem have lower 'Opera' participation rates), implies
a similar constraint. Access to performances by the
Lyric Opera is limited by both high ticket prices and
high demand.
Participation rates for 'Art Museums/Galleries',
'Arts/Crafts Fairs or Festivals', and 'Historic Sites' are
each equal to the 12-site averages, while movie theatre attendance, at 77%, ranks fourth of all sites.
Chicago Area
Arts Participation
Rates
83
<
©
3
6
1
S3
H
J
<
CORE DISCIPLINES
Jazz
16%
15%
Classical Music
20%
20%
Opera
5%
6%
Musicals
32%
27%
Plays
21%
20%
Ballet
5%
7%
Other Dance
10%
10%
Art Museum/Gallery
1 42%
42%
Any of 8 Core Disciplines
63%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
49%
49%
Attend Movie Theater
77%
73%
Historic Park/Monument
44%
44%
LITERATURE
Read Books for Pleasure
75%
73%
Read Plays or Poetry or Novels
69%
69%
Read Plays
7%
8%
Read Poetry
29%
29%
Read Novels/Short Stories
64%
64%
Hear Poetry
15%
15%
Hear Novels/Books
13%
13%
TELEVISION EXPOSURE
Jazz
37%
36%
Classical Music
46%
44%
Opera
24%
23%
Musicals
30%
29%
Plays
30%
27%
Any Dance
36%
36%
Artists/Art/Art Museums
45%
43%
Any TV Exposure
75%
75%
RADIO OR RECORDINGS
Jazz
56%
51%
Classical Music
64%
61%
Opera
30%
28%
Musicals
25%
23%
Plays
12%
10%
Any Radio/Recordings
83%
77%
-49-
12 Local Surveys of Arts Participation
Summary Report
Chicago Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
79
9934
1
300
7
962
2
419
89
11615
301 - 850
15
6453
3
1821
5
1938
2
868
25
11080
851 - 1500
7
8112
1
975
1
1338
N/A
N/A
9
10425
1501 - 2500
3
6196
N/A
N/A
N/A
N/A
N/A
N/A
3
6196
Over 2501
2
6095
N/A
N/A
1
4000
N/A
N/A
3
10095
Total Seat Count by Type
106
36790
5
3096
14
8238
4
1287
129
49411
Similarly, little is unusual with respect to literature participation or television exposure to the arts. In
terms of exposure to the traditional arts on radio or through recordings, Chicago's overall figure of
83% is the highest of all 12 sites. With respect to radio, the Chicago area benefits from a wide range
of arts programming offered by a number of stations including WFMT, WNIB, and WBEZ. The
individual rate for jazz participation through radio/recordings (56%) is the third highest (behind
Seattle/King County and Santa Clara County), and the rate for opera on radio or recording (30%) is
second only to that for Broward County, Florida.
Given the enormous supply of arts activity (especially in the areas of classical music, theatre, and to
some extent dance) and given the large number of high-
profile cultural institutions, one might expect higher
participation rates for the Chicago area in some
categories. However, several factors counter these
expectations. The sampled area includes a large
geography - including areas for which driving time to
Chicago may be a barrier to attendance. Ten percent of
the Chicago respondents who would like to attend arts
activities more often cited 'Distance/travel time' as an
obstacle to increased attendance. Results for this variable
tend to be related to the size of the sampled geography. A
similar survey administered to a smaller geography - for
instance, a 25-mile radius around downtown Chicago -
might yield very different participation rates. Further, the
size and demographic heterogeneity of the area, especially
with respect to race, income and education, provides a
more diverse population from which to draw a random
sample. The sample, therefore, is more likely to reflect
this heterogeneity. Given a population of over 7 million, it would be difficult to expand penetration
into the overall market area beyond average rates, despite the Chicago area's many artistic riches.
Chicago Area -
Mean Frequency of
Attendance Among
Attenders
as
<
s
•mm
JS
U
«3
a
-a
-
<
Jazz
2.72
2.7
Classical Music
2.93
2.84
Opera
1.97
1.86
Musicals
2.27
2.3
Plays
2.15
2.45
Ballet
1.32
1.77
Other Dance
1.87
2.03
Art Museum/Gallery
2.77
2.62
Arts/Crafts Fair/Festival
2.91
2.66
Historic Park/Monument
2.86
2.85
Venue Types Attended
Traditional venue types were last attended by two-thirds of Chicago respondents who reported
attending at least one live performance. Among the traditional venue types, 'Theatres' were attended
by 40% of all audiences (compared to 35% for all 12 sites); another 17% last attended a 'Concert Hall
or Opera House'; while 7% reported last attending a 'College Facility'. The relatively high utilization
50
12 Local Surveys of Arts Participation Summary Report
of traditional theatres may be attributed both to the large numbers of these venues in the Chicago area
and to the high participation rates for 'Musicals' and Plays'.
This study, as well as other research, has shown that Civic Centers (generally defined as multi-
purpose cultural centers) tend to serve smaller communities, where purpose-built facilities such as
concert halls, opera houses, and traditional theatres are not a part of the facility inventory. Consistent
with this observation is Chicago's low rate of attendance at Civic Centers (3%, ranks last, compared
to 13% for Winston-Salem, and 25% for Rural Nevada), as well as similar figures for the other urban
sites studied, including Pittsburgh, Philadelphia, and Seattle, which all have 5% utilization rates for
Civic Centers.
Unique to the Chicago site is unusually high utilization of dinner theatres as venues for the
performing arts. Twelve percent of all Chicago area arts audiences last attended a dinner theatre - a
figure twice as high as at any other site. Chicago's 32% participation rate for musical theatre clearly
brings more people into dinner theatres. Although dinner theatre venues were not inventoried for this
study, a number of successful dinner theatres operate in the suburban areas surrounding the city.
Interest in Attending More Often
Interest levels among Chicago area respondents closely follow the 12-site averages for most
disciplines. In comparison to the Philadelphia, Pittsburgh, and Seattle sites, Chicago respondents
tend to have generally higher interest levels, particularly with respect to 'Art Museums/Galleries'.
Among Chicago respondents who would like to attend arts events more often, fully 75% (ranks 1st)
expressed an interest in attending 'Art Museums/Galleries' more frequently.
Just over two-thirds of all Chicago area respondents expressed an interest in attending arts events
more frequently, similar to the 12-site average of 69%, and equal to Philadelphia's figure of 68%.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Information on arts activity provided by the Chicago Dance Coalition, Chicago Music Alliance, League of Chicago
Theatres, and the Illinois Arts Council.
51-
12 Local Surveys of Arts Participation
Summary Report
Philadelphia Area
The Philadelphia Metropolitan Statistical Area (MSA) encompasses an irregular geography stretching
from Pottstown, PA across to the New Jersey coast and from northern Bucks County, PA (near
Allentown) to southern Gloucester County, NJ (near Vineland). Not included in this area are
Trenton, NJ and Wilmington, DE. According to
census figures, the Philadelphia MSA had a total
1990 population of nearly 4.85 million, only
slightly larger than the population ten years ago.
The area has a substantial minority population,
predominantly African- American (19%) and
including 3.5% Hispanic/Latino and 2% Asian
populations, white residents comprise just over
3/4 of the total population. Estimated median
household income for 1992 was $38,000, with
more than 34% reporting incomes over $50,000.
Education levels are quite similar to the Chicago
site, with 23% of all adults (25+) having
graduated from college, and another 24% without
a high school degree.
Typical of other major metropolitan areas,
Philadelphia is comprised of a heterogeneous
population falling at both ends of the socio-
economic scale and everything in-between. In
comparison to other sites covered in this study,
Philadelphia has proportionately fewer affluent
households than Seattle/King County and the
Chicago area, but more than
Pittsburgh/ Allegheny County and Miami/Dade
County. Demographically, the Chicago site (i.e.
5 Illinois counties) is most similar to
Philadelphia.
Arts Activity in the Philadelphia Area
About the Sample...
• Sampled area includes the Philadelphia
Metropolitan Statistical Area (MSA), which
includes 3 New Jersey counties (Gloucester,
Camden and Burlington) and 5 Pennsyl-
vania counties {Philadelphia, Delaware,
Chester, Montgomery, and Bucks). This
area was divided into 3 subareas:
1. AH counties in the MS A except
Philadelphia County
2. Telephone exchanges within the City of
Philadelphia containing high concentra-
tions of minority populations.
3. All remaining exchanges within the city
• The high minority population subarea (#2
above) was over-sampled in order to
increase the sample size of minority
respondents,
• sample size = 607
Sample Demographics*
54% female, 46% male
79% white, not Hispanic
1 6% African- American; 4% all other races
25% have incomes > $50,000/yr.
29% have incomes < $20,000/yr.
35% completed college;
7% have graduate degrees
*weighted data
Arts community representatives paint a picture of
a stratified arts community (again, similar to Chicago) with over 30 arts institutions with budgets
over $1 million, and scores of smaller arts groups.
Several colleges and universities add measurably to
the supply of arts activity, including student and
professional productions and presentations of visiting
artists in music, theatre, and dance. Culturally diverse
programming is a major issue for arts groups; smaller
organizations are seeking to showcase local traditions
(evidenced by recent African- American festivals and
productions), while larger institutions strive to find
ways of attracting minority audiences. The area
boasts a flourishing 'new music' community and a
general resurgence of theatre.
Philadelphia Area Cultural Activity
Cultural Attractions*
Art Museums
8 i
Art Galleries
133 !
Arts/Crafts Fairs/Festivals
3**
Historic Parks/Sites/Monuments
36
*Data on # of performances not available.
**Large-scale events only.
-52-
12 Local Surveys of Arts Participation
Summary Report
The Academy of Music, downtown Philadelphia's
2,929-seat concert hall, is the primary venue for
several of the city's major arts institutions, including
the Philadelphia Orchestra, the Pennsylvania Ballet,
and the Opera Company of Philadelphia. The
Pennsylvania Opera Theatre, a separate organization,
produces in the adjacent Merriam Theatre (formerly
the Shubert) and other venues.
Philadelphia's inventory of performance facilities is in
a state of transition. The Port of History Museum,
which includes the City's most acoustically perfect
concert hall, has been leased to a private concern and
will be inactive for an indefinite period until major
renovations are competed. On the plus side, the new
convention center includes a 600-seat performance
hall which could be used by several of the displaced
groups. New performance facilities, planned as part of
a downtown cultural district, are eagerly anticipated
by the arts community. Major institutions, including
the Philadelphia Orchestra, look forward to a new
home, while emerging groups await the increased
availability of existing venues.
One of the area's noteworthy alternative spaces is the
Painted Bride Arts Center, a multi-discipline
presenting organization with artist-curated programs
in the performing and visual arts.
Several modern dance troupes make their home in
Philadelphia, including the Zeromoving Dance
Company and PhilaDanco. The Dance Celebration
Series at the Annenberg Theatre serves as the area's
major program of touring dance attractions.
Philadelphia has an active theatre community, with
several well-established resident theatre companies, a
plethora of smaller troupes, and a series of theatrical
programs presented by the Annenberg Center. Among
the area's most active companies are the Philadelphia
Drama Guild (which produces at the Zellerbach
Theatre, capacity 944), the Walnut Street Theatre
Company (1,052 seats), the Wilma Theatre (106
seats), the Philadelphia Theatre Company, the
Philadelphia Festival Theatre for New Plays, the New
Freedom Theatre, and the People's Light and Theatre
Company.
The American Mus"ic Theatre Festival provides area
residents with an unusual opportunity to see a variety of new musicals on a regular basis, in addition
Philadelphia
Area Arts
Participation
Rates
03
o>
u
<
.2
a.
1
a.
as
1
m
on
J
J
<
CORE DISCIPLINES
Jazz
12%
15%
Classical Music
19%
20%
Opera
7%
6%
Musicals
24%
27%
Plays
18%
20%
Ballet
5%
7%
Other Dance
11%
10%
Art Museum/Gallery
44%
42%
Any of 8 Core Disciplines
63%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
42%
49%
Attend Movie Theater
70%
73%
Historic Park/Monument
47%
44%
LITERATURE
Read Books for Pleasure
75%
73%
Read Plays or Poetry or Novels
68%
69%
Read Plays
9%
8%
Read Poetry
28%
29%
Read Novels/Short Stories
64%
64%
Hear Poetry
14%
15%
Hear Novels/Books
11%
13%
TELEVISION EXPOSURE
Jazz
34%
36%
Classical Music
50%
44%
Opera
22%
23%
Musicals
29%
29%
Plays
26%
27%
Any Dance
36%
36%
Artists/Art/Art Museums
44%
43%
Any TV Exposure
80%
75%
RADIO OR RECORDINGS
Jazz
48%
51%
Classical Music
60%
61%
Opera
28%
28%
Musicals
23%
23%
Plays
10%
10%
Any Radio/Recordings
73%
77%
53
12 Local Surveys of Arts Participation
Summary Report
to the regular schedule of Broadway shows promoted by the Shubert Organization at the 1,840-seat
Forrest Theatre and other venues. Several of the theatre companies mentioned above also produce
musicals.
With respect to museums and galleries, the Philadelphia Museum of Art is the area's flagship
institution, serving a broad constituency including many tourists. Other art museums include the
Afro-American Historical and Cultural Museum, the James A. Michener Art Museum, and the
Institute for Contemporary Art. Over the past several years, many commercial and non-profit
galleries have relocated to the 'Olde City' section of downtown Philadelphia, which is now a focus of
visual arts activity.
Touring artists are presented by the Chamber Music Society, the All-Star Forum, the Annenberg
Center, and many other non-profit presenters and commercial promoters. Numerous cultural
festivals are presented by the Convention and Visitors Bureau, including the African- Americas
Festival, the Mummer's Parade, and President's Jazz Weekend, although the area lacks a major arts
festival.
The Effect of Weighting on Philadelphia Survey Results
As noted above, minority populations in the City of Philadelphia were over-sampled to increase the
sample size of minority respondents. Because the sampling methodology was not random with
respect to geography, results should not be used to make inferences about the total MSA population
without making adjustments to the sample
data. Weighting procedures conducted by
Abt Associates adjusted for four
demographic variables (age, gender, race,
and household income), and had a major
impact on survey results (see Table A).
Further investigation of weighting
procedures would be necessary to explain
these results. (Consult the methodology
section of this report for additional
information about weighting procedures.)
The geographical distribution of
Philadelphia respondents is not random,
since certain telephone exchanges within
the City of Philadelphia were over-
sampled. By design, approximately two-
thirds of respondents live in the City of
Philadelphia. The closer proximity of these people to downtown venues, where a majority of arts
activity occurs, has an unknown impact on participation rates.
TABLE A
Effect of Weighting on
Philadelphia
Area Arts Participation
Rates
Raw
Weighted
Data
Data
Change
Jazz
18.8%
12.4%
-6.4%
Classical Music
14.8%
18.7%
3.9%
Opera
5.1%
7.2%
2.0%
Musicals
25.7%
24.0%
-1.7%
Plays
21.1%
18.0%
-3.1%
Ballet
7.1%
4.7%
-2.4%
Other Dance
13.0%
11.1%
-1.9%
Museums
49.3%
43.7%
-5.6%
Arts Participation in the Philadelphia Area
With several exceptions, weighted participation rates for the Philadelphia site are similar to rates for
the Chicago site, the Pittsburgh/Allegheny County site, and to the average rates for all 12 sites
combined. One exception is the 'Jazz' participation rate of 12%, which ranks lowest of the urban
sites studied; only Rural Nevada (7%) and Reno, NV (10%) have lower rates for jazz participation,
although the supply of jazz activity in Philadelphia is more comparable to Chicago (16%).
-54-
12 Local Surveys of Arts Participation
Summary Report
Philadelphia Area
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY RANGES
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
34
16110
30
3300
N/A
N/A
16
1950
80
21360
301 - 850
2
1219
2
500
3
1445
4
999
11
4163
851 - 1500
1
1052
0
0
N/A
N/A
N/A
N/A
1
1052
1501 - 2500
1
1668
0
0
1
2300
N/A
N/A
2
3968
Over 2501
1
2929
0
0
N/A
N/A
3
36700
4
39629
Total Seat Count by Type
39
22978
32
3800
4
3745
23
39649
98
70172
'Opera' participation in the Philadelphia area, at 7%, ranks ahead of Chicago and Pittsburgh (both
5%) and equal to Seattle and Miami/Dade County. Participation rates for 'Ballet' (5%), and 'Other
Dance' (11%) parallel rates for the Chicago area in these categories, consistent with the limited
supply of ballet programming in both areas, the healthier availability of 'Other Dance' presentations,
and the higher participation of minority groups in 'Other Dance'.
Philadelphia's participation rate for 'Musicals', 24%, falls well behind Chicago's 32% rate. Although
comparable in size, the Chicago market still supports longer runs of some Broadway shows. Based
on the data collected, Chicago area respondents also attend dinner theatres more often, another factor
which might explain that city's higher rate for 'Musicals'. Out-of-town participation may additionally
factor into this rate; surveys of Broadway theatre audiences in New York show a steady draw from
Philadelphia, according to the League of American Theatres and Producers.
As a centerpiece of American history, Philadelphia has the highest participation rate for Historical
Sites (47%) of the large cities studied. Among the area's historical parks, monuments, and other
landmarks are Independence Hall, Valley Forge National Park, plus many historic neighborhoods and
houses.
Literature participation rates for Philadelphia are nearly identical to Chicago's, and all fall within one
percentage point of the 12-site average. Rates for arts participation through the media contrast more
sharply with other markets. Philadelphia's rate for 'Classical Music' participation through television
programming is the highest of all 12 sites - 50% - sharply higher than Pittsburgh (30%), and also
ahead of Chicago (46%) by a narrower but still significant margin. Local non-profit station WHYY-
TV offers regular classical music programming, which may contribute to higher participation. Also,
classical music programming on television is also more likely to reach minority audiences, relative to
live participation rates.
Exposure to the arts through 'Radio or Recordings' for Philadelphia is lower than for Chicago, though
it is significantly higher than for Pittsburgh in all 5 disciplines.
Types of Venues Attended
Of all the urban sites studied, Philadelphia respondents attended "Alternative Venues" most often,
including 'Churches/Synagogues' (4%) and 'Secondary School Facilities' (4%). Aside from the 3
Nevada sites, Philadelphia respondents also reported the highest utilization of 'Nightclubs/Jazz Clubs'
(8%). Attendance at 'Dinner Theatres' (8%), was second highest to Chicago's (12%). With respect to
traditional venue types, 39% of all attenders reported last attending a 'Theatre', while 17% last
55
12 Local Surveys of Arts Participation Summary Report
attended a 'Concert Hall or Opera House', a figure identical to Chicago's. Attendance at 'Civic
Centers' (2%) was the lowest of all sites, and most similar to Chicago (3%).
Interest in Attending More Often
Of the 8 core disciplines, 28% of Philadelphia respondents indicated that 'Musicals' was their single
highest priority for attending more often, the highest rating for 'Musicals' of the 12 sites studied. In
total, 64% of all Philadelphia respondents reported some interest in attending more musicals, an
indication of the strong perceived interest in this type of activity. In contrast, only 9% selected
Plays' as their highest priority for attending more often (53% reported any interest); this figure is one
of the lowest among the 12 sites and paints a very different picture in comparison to Chicago and
Seattle where interest in attending 'Plays' more often equals or exceeds interest in attending more
'Musicals'. With the exception of 'Musicals', interest levels in the 8 "core" disciplines are lower than
Chicago's (and lower than the 12-site averages). This finding may be attributed in part to the
comparatively lower education levels of the Philadelphia survey site.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, and other information provided by the Greater Philadelphia Cultural Alliance.
56
12 Local Surveys of Arts Participation
Summary Report
Broward County, Florida
Broward County, Florida, in the middle of South Florida's "megalopolis" stretching from Miami to
Palm Beach, is a community experiencing rapid population growth and demographic diversification.
The city of Ft. Lauderdale and dozens of smaller surrounding municipalities have traditionally been a
haven for retirees and winter residents from
throughout the U.S. Northeast and Canada,
known locally as "snowbirds". More recently,
the county has seen an influx of young families;
a growth rate of 23% for the decade between
1980 and 1990 accumulated a 1990 census
population of 1.25 million, not including
seasonal residents. With this growth have come
significant demographic changes. According to
1990 census figures, 82% of the population is
white, 15% African- American, with 8.6% of
Spanish origin. Median household income is
more than $32,000, with just 27% of households
reporting incomes over $50,000, compared to
over 38% who earn $25,000 or less.
About the Sample,.,
• Sampled area includes all of Broward
County, including the communities of
Pompano Beach, Ft. Lauderdale, and
Hollywood.
• sample size - 403
Sample Demographics*
53% female, 47% male
87 % white, not Hispanic
8% African-American; 2% Hispanic
24% have incomes > $50,000/yr.
38% completed college;
14% have graduate degrees
*weighted data
Overall, the county has high concentrations of
younger upwardly mobile singles and families
plus many retirement-aged singles and couples.
Compared to other large urban areas studied,
Broward County is substantially more homogeneous, particularly with respect to income and
education, and lacks the extreme polarization of lifestyles associated with major metropolitan areas
such as Chicago and Philadelphia.
Arts Activity in Broward County
The cultural life of Broward County has changed
radically with the influx of new residents and since the
opening of the Broward Center for the Performing
Arts in 1990. Representatives of the arts community
report trends away from the traditional arts
programming offered primarily for the benefit of
seasonal residents during the winter months. More
family-oriented fare - such as children's theatre and
popular music - now appears on the cultural calendar,
even during the summer months. Sources report a
growing demand for theatrical performances by small
equity companies, light opera, and choral music. Two
jazz festivals have been successful, and a local jazz
society has begun presenting monthly programs.
The recent opening of the Broward Center for the
Performing Arts, a multi-venue state-of-the art
performance facility in downtown Ft. Lauderdale, had
Broward County Cultural Activity
Cultural Attractions
Art Museums
4
Art Galleries
107 !
Arts/Crafts Fairs/Festivals
73
Historic Parks/Sites/Monuments
20
Performing Arts Activity*
Jazz
77
Classical Music
190
Opera
20 1
Musicals
48
Plays
367
Ballet
27
Other Dance
21
*Number of Reported Performances over a
Recent 12-Month Period
57-
12 Local Surveys of Arts Participation
Summary Report
an immediate and dramatic positive impact on arts
activity in Broward County. The new Center ushered
in 255,000 patrons for its inaugural program,
Phantom of the Opera, and continues to host large
theatrical productions and performances by major
artists in many disciplines.
With respect to arts activity levels, Ft. Lauderdale
clearly benefits from its proximity to Miami and other
population centers along the South Florida coast.
Several prestigious cultural institutions serve the
entire region, including the Miami City Ballet; the
Florida Philharmonic Orchestra (based in Broward
County); and the Greater Miami Opera, which
performs several productions a year in the Broward
Center.
Presenters in the area include the Broward Center, the
Concert Association of Florida, Broward's Friends of
Chamber Music, the Ft Lauderdale Opera, Bailey
Concert Hall, and the Coral Springs City Centre, in
addition to several municipalities which offer free
programs to area residents, frequently in outdoor
facilities.
Arts Participation in Broward County
Participation rates for traditional performing arts
disciplines in Broward County are all above the 12-
site averages, with the exception of 'Other Dance'
performances. In fact, overall, 57% of the Broward
County residents surveyed attended at least one
performance among the seven performing arts
disciplines covered in the research, the single highest
overall attendance rate of all sites.
The most dramatic figures were recorded for 'Jazz'
(20%, ranks #1), 'Classical Music' (23%, ranks #1),
'Opera' (12%, ranks #1), 'Musicals' (34%, ranks #1),
and 'Ballet' (13%, tied for first with King County).
These very high rates may be attributed to a number
of factors, including the high public awareness
surrounding the opening of the of the new Broward
Center for the Performing Arts and the high
percentage of retirees who populate the area and are
accustomed to attending world-class cultural events.
The greater availability of leisure time for many
residents (i.e., retirees) may also factor into the higher
participation rates.
Broward County
Arts Participation
Rates
C
S
o
U
%
2
aa
c
s
S
So
►J
-J
<
CORE DISCIPLINES
Jazz
20%
15%
Classical Music
23%
20%
Opera
12%
6%
Musicals
34%
27%
Plays
21%
20%
Ballet
13%
7%
Other Dance
9%
10%
Art Museum/Gallery
41%
42%
Any of 8 Core Disciplines
65%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
61%
49%
Attend Movie Theater
75%
73%
Historic Park/Monument
40%
44%
LITERATURE
Read Books for Pleasure
75%
73%
Read Plays or Poetry or Novels
71%
69%
Read Plays
5%
8%
Read Poetry
27%
29%
Read Novels/Short Stories
68%
64%
Hear Poetry
17%
15%
Hear Novels/Books
13%
13%
TELEVISION EXPOSURE
Jazz
36%
36%
Classical Music
45%
44%
Opera
28%
23%
Musicals
30%
29%
Plays
28%
27%
Any Dance
35%
36%
Artists/Art/Art Museums
35%
43%
Any TV Exposure
74%
75%
RADIO OR RECORDINGS
Jazz
51%
51%
Classical Music
59%
61%
Opera
31%
28%
Musicals
23%
23%
Plays
12%
10%
Any Radio/Recordings
75%
77%
58
12 Local Surveys of Arts Participation
Summary Report
Broward County
Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
4
866
9
N/A
2
450
15
1316
301 - 850
4
2345
4
2345
851 - 1500
1
1201
1
1200
2
2401
1501 - 2500
3
6044
1
2100
4
8144
Over 2501
2
6786
2
6786
Toted Seat Count by Type
14
17242
9
0
2
3300
2
450
27
20992
Broward County's unprecedented participation rate for 'Musicals' is clearly linked to a healthy
schedule of touring Broadway productions - the Ft. Lauderdale Broadway Series - produced by PTG
Florida, Inc. and launched with a 12-week run of Phantom of the Opera. Broward County's 13%
'Ballet' participation rate, may be attributed in part to the popularity of the Miami City Ballet and
other touring ballet presentations. Performances of ethnic/traditional dance, including the Ballet
Folklorico, have also been successful in the area.
'Opera' participation, at 12%, appears to be related to the strong supply of opera programming, both
at the Broward Center and at other venues. In addition to productions by the Ft. Lauderdale Opera,
the Greater Miami Opera and the Gold Coast Opera also
perform regularly in venues throughout the county. Not
only are participation rates for 'Opera' and 'Ballet' high,
but those Broward County respondents who do attend
'Opera' and 'Ballet' do so more frequently than audiences
in other survey sites.
The high rate of attendance at jazz events may be
explained by a preponderance of music festivals Qazz,
Latin/Caribbean, etc.) and the large number of resident
jazz artists. The Hollywood Jazz Festival is a 3-day event
which attracts international visitors; several jazz societies
and the Musician's Exchange also present jazz concerts.
Enjoying the warm climate, almost a third of all jazz
attenders saw their last jazz performance at a park or
open-air facility, whereas relatively few attended
nightclubs or jazz clubs.
Broward County-
Mean Frequency of
Attendance Among
Attenders
e
s
o
U
■2
08
it
2
ea
m
b
-J
<
Jazz
3.35
2.7
Classical Music
2.98
2.84
Opera
2.59
1.86
Musicals
2.68
2.3
Plays
2.46
2.45
Ballet
2.42
1.77
Other Dance
1.72
2.03
Art Museum/Gallery
2.88
2.62
Arts/Crafts Fair/Festival
2.74
2.66
Historic Park/Monument
2.54
2.85
Interestingly, attendance at 'Art Museums/Galleries', 'Movies', and 'Historic Sites' do not correlate
with the high rates for performing arts and are close to the averages for the 12 sites. One exception
in this area is the high participation rate for 'Arts/Crafts Fairs and Festivals'; at 61%, it is second only
to Reno among the 12 sites. Local cultural representatives indicate that the region's superb weather
and festival settings (e.g., Riverwalk and other public parks) are conducive to outdoor programming.
Vendor-based arts and crafts festivals are scheduled nearly every weekend from October through
May.
Participation rates for literary activities, television exposure, and radio/recordings of traditional arts
disciplines are less anomalous. Interestingly, the participation rates for watching opera on television
59-
12 Local Surveys of Arts Participation Summary Report
(28%, second only to Dade County) and for listening to opera on the radio or recordings (31%, ranks
1st) are consistent with the high participation rate for live opera performances.
Types of Venues Attended
Traditional venue types were last attended by three-quarters of Broward respondents who reported
attending at least one live performance. 'Theatres' were attended by 43% of all audiences (ranks 1st);
another 15% attended a 'Concert Hall or Opera House'; 11% attended a 'Civic Center', while 6%
reported attending a 'College Facility'. The Broward Center's two venues, the Au-Rene Theatre at
2,700 seats, and the Amaturo Theatre at 595 seats, could easily be classified as either theatres or
concert halls. Otherwise, the Coral Springs City Centre may also account for high utilization of
"Civic Centers." The high utilization of traditional theatres may be attributed in part to the high
participation rates for 'Musicals' and other disciplines typically seen in a traditional theatre setting
(i.e. opera, ballet, and stage plays).
Interest in Attending More Often
Among Broward County respondents, 29% designated 'Art Museums/Galleries' as their single
highest priority (ranks 2nd to Rural Nevada) for more frequent attendance, significantly higher than
similar figures for Santa Clara County, CA (20%), and King County, WA (19%), and second only to
Rural Nevada (36%). Interest levels in other disciplines are average, with the exception of jazz,
which only 11% of respondents (ranks last among the 12 sites) designated as their single highest
priority for increased attendance. Overall, 71% of all Broward respondents indicated that they would
like to attend arts events more often.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the Broward Cultural Affairs Council.
60-
12 Local Surveys of Arts Participation
Summary Report
Dade County, Florida
Encompassing the greater Miami area, Dade County, Florida is a rapidly growing community at the
forefront of cultural change in America. According to 1990 census figures, approximately half of the
population of Dade County is of Spanish origin, including significant numbers of Cubans and a
growing Haitian community. Another 20% of
the County population is African-American.
Population growth totaled 28% between 1970
and 1980 and another 19% during the 1980s.
During 1992, the county's population is expected
to cross the 2 million mark, and projections
indicate continued growth over the next five
years and beyond.
Demographic statistics do not fully capture the
cultural diversity of Dade County, with its
unique combination of permanent and seasonal
residents, widely diverse minority populations,
and traditional American families. Of the 12
sites studied, Dade County income levels are
most similar to the Pittsburgh/ Allegheny County
site, with 24% reporting incomes over $50,000
and 44% with incomes under $25,000. Median
household income for 1992 was estimated to be
$28,764, similar to Pittsburgh ($29,920), but
much less than Chicago ($38,022) and
Philadelphia ($38,592). Only the Sedona, AZ
site had lower median income than Dade County.
Education levels for Dade County show greater
concentration at the low end of the spectrum;
while about 19% earned a Bachelor's degree or
higher, fully 34% did not graduate from High
School and 18% did not go past the 8th grade
(the highest percentage in this category for all 12
sites). Similar to other large urban areas, single
households constitute almost a quarter of all
households.
Dade County Cultural Activity
Cultural Attractions*
Art Museums
12
Art Galleries
184
Arts/Crafts Fairs/Festivals
350
Historic Parks/Sites/Monuments
480
*Data on # of performances not available.
About the Sample*.*
Dade County, Florida was divided into two
sub-areas for sampling.
1
Telephone exchanges with a high
percent minority population ( 1 79
completed interviews)
2. All remaining telephone exchanges in
Dade County (223 completed
interviews)
The desired sample size was split
proportional to their total populations
An analysis of the ZIP Codes of respondents
shows that the sample is concentrated in the
immediate area around downtown Miami.
A total of 85 interviews, or 21% of the
sample, were conducted in Spanish,
sample size = 402
Sample Demographics*
54% female, 46% male
47% white, not Hispanic;
17% Hispanic/Latino;
17% African-American;
12% Caribbean Islander;
3% Central & South American
21 % have incomes > $50,000/yr.(24% of
the sample did not report their incomes)
30% completed college;
8% have graduate degrees
^weighted data
Arts Activity in Dade County
Like its population, Dade County's cultural
community is rapidly growing and changing.
According to the Metropolitan Dade County
Cultural Affairs Council, the number of cultural
organizations in Dade County increased from 1 10
in 1983 to nearly 600 in 1991. The resulting
demand for resources (especially funding and
facilities) is the primary challenge of the Cultural
Affairs Council.
-61
12 Local Surveys of Arts Participation
Summary Report
Miami's proximity to other population centers along
the south Florida coast, including Ft. Lauderdale and
the Palm Beaches, impacts the local cultural
environment by broadening the service area (and
funding base) of several of the larger arts
organizations. The Florida Philharmonic, for
example, is based in Ft. Lauderdale and performs
regularly in Miami and Palm Beach. Other groups
which perform throughout the region include the
Miami City Ballet and the Greater Miami Opera.
Other large arts institutions include the New World
Symphony, a national training orchestra based in
Miami Beach, and the Concert Association of Florida,
a non-profit presenting organization which brings a
variety of orchestras, soloists, dance companies, and
popular entertainers to venues throughout the region.
The area boasts an active dance community,
highlighted by the nationally-prominent Miami City
Ballet. Numerous smaller ballet companies and
schools reflect a strong community interest in that art
form, and the variety of contemporary and ethnic
dance companies reflect the popularity of dance as a
form of cultural expression.
Musical theatre programming is largely the domain of
Pace Theatrical Group, which promotes a series of
Broadway shows at the Jackie Gleason Theatre in
Miami Beach. A range of professional and amateur
theatre companies, including approximately 10
culturally-specific troupes, offers a wide variety of
programming. One of the area's most popular
companies, the Coconut Grove Playhouse, offers six
productions annually in its 1,100-seat theatre.
The County's visual arts community is equally
diverse. Although Miami lacks a flagship art museum
on the order of The Carnegie in Pittsburgh, several
culturally-specific museums, such as the Cuban
Museum of Arts and Culture and the Black Heritage
Museum, add a richness not found in other cities.
Numerous commercial and non-profit art galleries
feature the works of local artists.
Dade County Performance Facilities
The recent growth of Miami's major arts institutions
has created demand for new facilities with improved
Dade County Arts
Participation
Rates
>,
c
s
o
U
4>
ea
Q
1
a
d
<
CORE DISCIPLINES
Jazz
14%
15%
Classical Music
12%
20%
Opera
7%
6%
Musicals
20%
27%
Plays
15%
20%
Ballet
10%
7%
Other Dance
12%
10%
Art Museum/Gallery
35%
42%
Any of 8 Core Disciplines
52%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
45%
49%
Attend Movie Theater
63%
73%
Historic Park/Monument
41%
44%
LITERATURE
Read Books for Pleasure
62%
73%
Read Plays or Poetry or Novels
63%
69%
Read Plays
9%
8%
Read Poetry
31%
29%
Read Novels/Short Stories
56%
64%
Hear Poetry
21%
15%
Hear Novels/Books
16%
13%
TELEVISION EXPOSURE
Jazz
38%
36%
Classical Music
45%
44%
Opera
31%
23%
Musicals
33%
29%
Plays
28%
27%
Any Dance
39%
36%
Artists/Art/Art Museums
43%
43%
Any TV Exposure
77%
75%
RADIO OR RECORDINGS
Jazz
44%
51%
Classical Music
61%
61%
Opera
29%
28%
Musicals
23%
23%
Plays
11%
10%
Any Radio/Recordings
70%
77%
technical capabilities. Representatives of the arts community recognize the need to expand access to
62-
12 Local Surveys of Arts Participation
Summary Report
performance facilities for the city's large organizations and for the many emerging arts groups.
Planning is underway for a new, multi-venue performing arts center which could open as early as
1996. Presently, Dade County's active venues with more than 800 seats are all owned by public
agencies and include:
Dade County Auditorium, in residential Miami (2,498 seats)
TOPA - Jackie Gleason Theatre, in south Miami Beach (2,705 seats)
Gusman Center, in downtown Miami (1,709 seats)
Victory Park Auditorium, in North Miami Beach (1,200-seats)
Joseph Caleb Auditorium, in Miami (1,000 seats)
Manuel Artime Performing Arts Center, in Miami (804 seats/442 in use)
The Effect of Weighting on Dade County Survey Results
As noted above, sampling was weighted to gain more respondents in those areas in which a low
response rate was expected. Since a stratified sampling methodology was used, results should not be
used to make inferences about the total county population without making adjustments to the sample
data. Weighting procedures conducted by Abt Associates adjusted for four demographic variables
(age, gender, race, and household income), and had a relatively minor impact on survey results (see
Table A). Generally, weighting procedures
lowered participation rates by one or two
percentage points, except for 'Opera'
participation, which rose 1.7% after
weighting. (Consult the methodology
section of this report for additional
information about weighting procedures.)
TABLE A
Effect of Weighting on
Dade County Arts Participation
Rates
Raw
Weighted
Data
Data
Change
Jazz
15.7%
14.3%
-1.4%
Classical Music 14.4%
12.4%
-2.0%
Opera
5.7%
7.4%
+1.7%
Musicals
21.1%
20.3%
-0.8%
Plays
16.9%
15.2%
-1.7%
Ballet
10.7%
10.3%
-0.4%
Other Dance
12.9%
12.2%
-0.7%
Museums
36.6%
35.4%
-1.2%
Arts Participation in Dade County
Arts participation rates in the traditional
disciplines do not capture the cultural
richness of the community. 'Classical
Music' participation for Dade County, at
12%, is the lowest of any urban site
studied, surpassing only Las Vegas (9%)
and Rural Nevada (10%) among the 12
sites studied. Those who do attend
classical music performances, however, go more frequently than their counterparts in other cities.
Given the healthy supply of classical music performances by the Florida Philharmonic and the New
World Symphony, in addition to numerous presentations of touring artists and chamber groups, the
lower participation rate most likely relates to demographic and cultural factors. The European-based
classical music tradition is not part of the cultural heritage of a majority of Dade County's population,
and lower participation rates would be expected.
Jazz participation (14%) is closer to the 12-site average of 15% and places Dade County between
Chicago (16%) and Philadelphia (12%). Participation rates for other types of musical performances,
including ethnic/traditional music, were not researched, but could be expected to uncover an
important aspect of arts participation in Dade County.
Generally, participation rates for disciplines based on the spoken word (i.e., musicals and plays) are
lower for Dade County, while participation rates for 'Ballet' and 'Other Dance' (i.e., disciplines based
-63-
12 Local Surveys of Arts Participation
Summary Report
on movement) are higher. Language barriers might
contribute to the lower participation for musicals and
plays, although a number of theatre companies present
performances in Spanish. Dade County's 20%
participation rate for 'Musicals' contrasts sharply with
Broward County's 34% rate (even though the two
counties are adjacent), and is the lowest of the large
urban areas studied. During the 1991-92 season, Pace
Theatrical Group presented approximately 80
performances of Broadway shows at the Jackie
Gleason Theatre in Miami Beach, drawing over
1 10,000. With such a steady supply of programming
(and excess capacity), other factors seem to constrain
participation in this discipline.
A similar story emerges for participation in 'Plays';
Dade County's 15% rate is lowest of the urban sites
studied. Philadelphia and Pittsburgh, both with 18%
participation rates for 'Plays', are most comparable,
although Seattle's 29% rate is almost twice as high. With Spanish as the primary language for so
many of its residents, and with such a diverse minority population, Dade County and its theatre
community face some unique challenges. Table 1(a) in the appendix shows arts participation rates
for demographic sub-groups. Results show that Hispanic/Latino respondents (from all 12 sites
combined) are less than half as likely to attend 'Plays' than white respondents:
Arts Participation Rates for Demographic Sub-Groups
Excerpted from Table 1(a)
Dade County -
Mean Frequency of
Attendance Among
Attenders
S.
s
o
u
•o
es
Q
H
(Z5
<
Jazz
3.35
2.7
Classical Music
3.72
2.84
Opera
1.77
1.86
Musicals
2.76
2.3
Plays
3.08
2.45
Ballet
2.02
1.77
Other Dance
2.61
2.03
Art Museum/Gallery
2.69
2.62
Arts/Crafts Fair/Festival
2.48
2.66
Historic Park/Monument
3
2.85
Classical
Other
Jazz
Music
Opera
Musicals
Plays
Ballet
Dance
RACE/HERITAGE
White
15%
22%
8%
30%
21%
8%
10%
African- American
19%
13%
2%
24%
16%
3%
9%
Hispanic
13%
6%
2%
16%
9%
4%
10%
These data offer substantial insight into Dade County's participation rates. Note especially that
Hispanic participation in 'Other Dance' (10%) equals the rate for white respondents. Dade County's
12% rate for 'Other Dance' reinforces the notion that dance, as an art form, is indigenous to many
cultures, in contrast to other performing arts disciplines covered in this research. Those who attend
'Other Dance' performances in Dade County also attend more frequently than their counterparts in
other cities.
Although minority respondents are half as likely to attend 'Ballet', Dade County's 10% participation
rate for 'Ballet' is twice the figure for Philadelphia and Chicago (both at 5%). The Miami City
Ballet's rapid ascent to national prominence (it is currently the 7th largest ballet company in the U.S.)
and its impact on the local community through regular performances, outreach, and education
programs clearly contribute to this high participation rate. To the north, Broward County's 13% rate
for 'Ballet' is also supported by this institution.
Literature participation rates for Dade County, as might be expected, are somewhat lower than
averages for the 12 site combined; in several categories Dade County compares favorably to
64-
12 Local Surveys of Arts Participation Summary Report
Pittsburgh. Interestingly, of all the urban sites studied, Dade County has the highest participation
rates for attending readings of books or poetry.
In contrast to attendance at live performances, media participation rates for Dade County compare
similarly to other urban sites studied, with several exceptions. Both Dade and Broward counties have
high rates for television exposure to opera. Also, Dade County's 44% participation rate for listening
to recordings of jazz is lower than Chicago's (56%) and Broward County's (51%), but higher than
Pittsburgh's (40%).
Interest in Attending More Often
Overall, 70% of Dade County respondents reported an interest in attending arts events more often;
this figure is not significantly different than Chicago (68%) or Broward County (71%) but is
somewhat higher than Pittsburgh (66%). In contrast to other urban sites, Dade County respondents
were less likely to list 'Musicals' as their highest priority for attending more often and more likely to
select 'Ballet' and 'Art Museums/Galleries' as the single discipline that they would like to attend more
often. These findings are consistent with participation levels and indicate again that a high level of
participation in a particular discipline breeds additional interest, and vice versa.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA. Other information
provided by the Metropolitan Dade County Cultural Affairs Council.
65
12 Local Surveys of Arts Participation
Summary Report
Santa Clara County, California
Santa Clara County, at the southern end of the San Francisco Bay Area, has experienced rapid
population growth over the past two decades, and the City of San Jose is now one of California's
largest centers of commerce and population. A comprehensive downtown redevelopment plan, a
rapid transit system, and the skyrocketing growth rate of nearby Silicon Valley have all contributed
to San Jose's emergence from "edge city" status to that of an independent urban center. Nearly one in
five residents are Hispanic/Latino, and a growing Asian community represents another 10% of the
population. Median household income in 1991
was close to $52,000, a level far above both
national and state averages. Families represent an
increasingly larger percentage of households,
with significant numbers headed by single
parents.
About the Sample..,
• sampled area includes all of Santa Clara
County, excluding telephone exchanges
(408) 842, 847, and 848 (Gilroy area).
• sample size - 401
Sample Demographics*
51% female, 49% male
67% white, not Hispanic
18% Hispanic/Latino, 8% Asian
51% have incomes > $50,000/yr.
43% completed college;
16% have graduate degrees
*weighted data
Arts Activity in Santa Clara County
The arts have not been bypassed by the region's
fast growth but rather have prospered with it.
New or planned cultural facilities include a
renovated art museum, a new home for the local
repertory theatre company, and renovation of the
historic Fox Theatre downtown. Nearby
communities have also recently opened facilities
(Mountain View Center for the Performing Arts)
which draw Santa Clara County residents away from the traditional cultural centers of San Francisco
and Oakland. Recent experiences with outdoor productions in the downtown area (i.e., outdoor Jazz
Festival and Le Cirque du Soleil) have proven that the city itself can serve as a suitable venue for
various types of performances.
Some of the most exciting cultural developments in
the county are in the area of multi -cultural performing
arts collaborations involving Asian, Latino, and East
Indian music and dance companies. The cultural
community in the region is striving to develop a
supportive infrastructure for arts and culture through
audience development and outreach activities.
Arts Participation in Santa Clara County
For each of the seven performing arts disciplines
surveyed, participation rates for Santa Clara County
generally fall in the middle of the distribution for all
12 sites, with a tendency to be somewhat higher than
average. An exception is found in the area of 'Jazz'
with a participation rate of 19% (tied for 2nd of 12
sites). In addition to a lively nightclub scene, (26% of
jazz attenders last attended a nightclub or jazz club), a
summer jazz festival takes place on six stages
throughout downtown San Jose and offers free
performances for three days. Consequently, another
Santa Clara County Cultural
Activity
Cultural Attractions
Art Museums
4
Art Galleries
16
Arts/Crafts Fairs/Festivals
20
Historic Parks/Sites/Monuments
6
Performing Arts Activity*
Jazz
375
Classical Music
202
Opera
58
Musicals
473
Plays
992
Ballet
53
Other Dance
115
*Number of Reported Performances over a
Recent 12-Month Period
66-
12 Local Surveys of Arts Participation
Summary Report
22% of jazz attenders last attended a 'Park or Open-
Air Facility'. The area's large Latino population
enjoys concerts and dances featuring salsa and Afro-
Caribbean music, which also have been reported as
jazz participation.
In comparison to other sites, Santa Clara County
respondents also reported significantly higher
participation rates for 'Ballet' (9%, ranks #4) and
musical theatre (30%, ranks #3). The county's
resident professional dance company, the San
Jose/Cleveland Ballet, produces an annual season in
San Jose, while professional ballet companies can also
be found within an hour's drive in San Francisco and
Oakland. Touring ballet companies also perform at
universities throughout the Bay Area.
Also figuring in the relatively high participation rate
for 'Ballet' may be attendance at performances by
Ballet Folklorico organizations, a form of ethnic
dance popular among Latinos and prevalent in Santa
Clara County.
The area's rich diversity of cultural activity is not
adequately reflected in the categories surveyed. For
example, attendance at performances of ethnic music
cannot be considered either 'Classical Music' or 'Jazz'
participation, and consequently were unrecorded, even
though it is a major area of arts activity in Santa Clara
County. Further, local representatives report a
growing number of non-traditional collaborative
productions involving the region's Latino and Asian
communities, often featuring music and dance on the
same program. It is unclear to what extent attendance
at these types of performances was reported, given the
limited discipline definitions and the interview
protocol.
Of particular note in Santa Clara County is the high
rate of attendance at 'Historic Sites', with 51% of
respondents having visited such a site over the past
year (ranks #2 of 12 sites). While local representatives
have reported only six such sites in the County, at
least three are unique for their stature in the
community. Kelly Park is a collection of historic
buildings and replicas near downtown San Jose; the
Winchester Mystery House is a popular destination to
which local residents take out-of-town visitors for
tours and special events; and Villa Montalvo, an
historic home, is also a site for performing arts events.
Santa Clara
County Arts
Participation
Rates
c
§
U
en
U
c
ett
CO
i
a
d
<
CORE DISCIPLINES
Jazz
19%
15%
Classical Music
21%
20%
Opera
8%
6%
Musicals
30%
27%
Plays
21%
20%
Ballet
9%
7%
Other Dance
9%
10%
Art Museum/Gallery
44%
42%
Any of 8 Core Disciplines
67%
62%
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
54%
49%
Attend Movie Theater
78%
73%
Historic Park/Monument
51%
44%
LITERATURE
Read Books for Pleasure
74%
73%
Read Plays or Poetry or Novels
72%
69%
Read Plays
10%
8%
Read Poetry
29%
29%
Read Novels/Short Stories
70%
64%
Hear Poetry
20%
15%
Hear Novels/Books
16%
13%
TELEVISION EXPOSURE
Jazz
36%
36%
Classical Music
36%
44%
Opera
23%
23%
Musicals
29%
29%
Plays
29%
27%
Any Dance
34%
36%
Artists/Art/Art Museums
37%
43%
Any TV Exposure
74%
75%
RADIO OR RECORDINGS
Jazz
57%
51%
Classical Music
65%
61%
Opera
27%
28%
Musicals
24%
23%
Plays
8%
10%
Any Radio/Recordings
81%
77%
67-
12 Local Surveys of Arts Participation
Summary Report
Santa Clara
County Venues
Performing Arts
Facilities
Bars, Clubs &
Dinner Theatres
College/Univ.
Venues
Alternative
Venues
TOTAL
SEATING CAPACITY
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
#of
Venues
Total
Seats
Up to 300
12
2058
2*
325*
4
850
11
2230
27
5138
301 - 850
5
2355
N/A
N/A
5
3889
4
2450
14
8694
851 - 1500
1
1000
0
0
1
1081
2
2160
4
4241
1501 - 2500
0
0
0
0
1
1722
2
4000
3
5722
Over 2501
3
8187
0
0
2
13500
1
20000
6
41687
Total Seat Count by Type
21
13600
0
0
13
21042
20
30840
54
65482
* list incomplete
Figures for frequency of attendance are very similar to the averages for all 1 2 sites. Although
participation rates for Santa Clara County respondents are higher in some categories, those who
participate do not attend more or less frequently than their counterparts in other cities.
For the most part, rates of participation in the arts through the media are also not significantly
different in comparison to most of the other 1 1 sites. However, literature participation rates for
Santa Clara County tend to be somewhat higher, especially in the categories of 'Reading Novels or
Short Stories', and 'Attending Poetry Readings'. This finding is consistent with the observation that
higher education levels are related to higher literature participation rates. Santa Clara County ranks
third among all sites in the number of respondents with college degrees (23.6%), and first among all
sites in the number of respondents with graduate degrees (18.2%).
Venue Types Attended
Seventy-seven percent of those respondents who
participated in any of the seven performing arts
disciplines reported last attending a traditional performing
arts venue (i.e. 'Theatre', 'Concert Hall or Opera House',
'College Facility', etc.). This figure is comparable to the
other large urban areas studied. A comparison of the
venue types attended with the actual facility inventory of
the area shows that college and university facilities play
an essential role in the performing arts delivery system.
Four educational institutions host performing arts
activities: San Jose State University, Santa Clara
University, Stanford University, and Foothill Community
College. It is therefore no surprise that Santa Clara
County boasts the highest percentage (12%) of reported
attendance at college facilities of all the sites surveyed,
with the exception of Las Vegas. Among the disciplines,
respondents attended 'Other Dance' performances at college
other type of venue.
Interest in Attending More Frequently
Santa Clara County
Mean Frequency of
Attendance Among
Attenders
>>
G
9
O
U
O
3
C/5
05
w 1
J
-J
<
Jazz
2.45
2.7
Classical Music
2.74
2.84
Opera
1.92
1.86
Musicals
2.28
23
Plays
2.73
2.45
Ballet
1.35
1.77
Other Dance
2.25
2.03
Art Museum/Gallery
2.57
2.62
Arts/Crafts Fair/Festival
2.79
2.66
Historic Park/Monument
3.02
2.85
facilities more frequently than at any
With respect to interest in attending arts events more frequently, Santa Clara County respondents
expressed interests similar to those of respondents in other cities. 'Musicals' (22%), 'Art
-68-
12 Local Surveys of Arts Participation Summary Report
Museums/Galleries' (20%), and 'Jazz' (19%) were most frequently cited as the single cultural activity
that respondents would like to attend more often. Compared to average figures for the other 1 1 sites,
only 'Jazz' received a significantly higher percentage of interest (19%, ranks 2nd to Las Vegas).
Overall, 68% of those surveyed would like to attend arts events more often.
Source for demographic and lifestyle data: Equifax Marketing Decision Systems, Encinitas, CA.
Figures for number and size of venues, number of performing arts events, and number of other cultural attractions
provided by the City of San Jose Office of Cultural Affairs.
-69
12 Local Surveys of Arts Participation Summary Report
ffl. SPECIAL TOPICS
The primary focus of this report is arts participation at the local level, and the relationship between
participation patterns and the supply of local arts activity. However, data from the 12 Local Surveys
is rich with information about a variety of additional topics of relevance to arts managers, funders,
and policy makers. For example, results from questions about participation, venue types attended,
sources of information, etc., can be cross-tabulated with demographic variables to uncover possible
underlying differences. Although the opportunities for detailed analysis of this data are almost
endless, several of the more interesting special topics are addressed below.
A. Factors Related to Arts Participation
A statistical procedure called 'discriminant analysis' was used to determine the demographic
variables which distinguish between those respondents who participate in each of the arts
activities and those who do not. Results from this analysis identify which factors contribute
the most to whether a respondent belongs in a specific group (e.g., 'Classical Music'
attenders, etc.). For example, it was observed that of all the demographic variables, the
education variable 'Graduate Degree' related most strongly to 'Classical Music' participation.
Although this analysis does not prove causality (i.e., that having a graduate degree causes
Classical Music' participation), it does sift out what factors are most related to participation
in the various disciplines.
Combined data from all 12 sites were analyzed. Age, race, gender, income, education,
marital status, and household size were all tested against each of the categories of arts
participation. Results show that:
• Of all the demographic variables tested, education levels, particularly 'High School
Degree', 'Bachelor's Degree' and 'Graduate Degree', have the strongest relationship to arts
participation in each of the 8 core disciplines. This finding is generally consistent with
the results of previous research on arts participation, including the 1982 and 1985
SPPAs.
• The difference in participation rates among races is greater with respect to Classical
Music', 'Opera', and 'Art Museum/Gallery' participation, and less for 'Jazz', 'Musicals',
Plays', 'Ballet' and 'Other Dance'.
• High Income ($100,000+) is associated with participation in Classical Music', 'Opera',
'Musicals' and 'Art Museums/Galleries'. Income levels, generally, are less related to
participation in 'Other Dance'.
• Age is a significant discriminating factor for Classical Music' and 'Opera' participation,
but much less so for other disciplines. For example, 41 % of 'Opera' attenders fall into
the 40-59 age bracket, and another 30% fall into the 60+ age bracket. In contrast, 'Jazz'
attenders are more evenly distributed across all age brackets (only 46% are over age 40).
•
Marital status is not a particularly strong factor related to arts participation, although
'Married' is significantly related to Classical Music' participation, and 'Never Married' is
signifipantly related to attendance at 'Arts/Crafts Fairs or Festivals'.
70
12 Local Surveys of Arts Participation
Summary Report
Combining data from the 12 sites does not produce a nationally representative sample, and
data sets are too small to conduct this analysis on a site by site basis. Other statistical
procedures, including multiple regression analysis, were used on data from the 1982 and
1985 SPPAs to evaluate demographic variables as predictors of arts participation. Reports
from these studies should be consulted for further information about the demographic and
socio-economic characteristics of arts attenders. A bibliography of research on arts
participation appears in the appendix.
B. Cross-Discipline Participation Rates
While it is valuable to study participation rates for the individual disciplines, the data also
provides information about overlapping audiences between the various disciplines. Table 1 1
(below) presents cross-discipline participation rates for all of the 12 sites combined. Use this
table to look up what percentage of attenders in a particular discipline also attend the other
disciplines.1 This information might be useful to a marketing manager, for example, in
targeting mailings for a particular production or series. A number of interesting
observations can be made from these data:
CROSS-DISCIPLINE PARTICIPATION RATES
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 11
3
s
-a
Reference Audience
(Read down each column for results)
CO
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o
a
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O
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Q
<u
In
■a
■3
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O
Percent Also Attending..
HOW TO READ THIS TABLE: Among 'Opera' participators, 25% also attended 'Ballet'.
• Interest in dance does not necessarily cross from one genre to another: Only 24% of
'Ballet' attenders also reported attending 'Other Dance', while even fewer 'Other Dance'
attenders also attended 'Ballet' (16%).
'For an analysis of overlapping audiences from the 1982 SPPA, consult the University of
Maryland's'report Public Participation in the Arts: Final Report on the 1982 Survey, pages
204-211.
71
12 Local Surveys of Arts Participation m^ Summary Report
• While 55% of 'Opera' attenders also attended 'Classical Music', the reverse is less
common. Only 19% of 'Classical Music' attenders also attended 'Opera'.
• 'Musicals' and 'Plays' seem to have the strongest "mutual attraction" of audiences;
crossover from 'Musicals' to "Plays' was 41%, while crossover from 'Plays' to 'Musicals'
was 57%.
• Generally, performing arts attenders are very likely to also attend 'Art Museums/
Galleries,' with crossover rates ranging from 62% ('Musicals') to 80% ('Opera'). In
contrast, 'Art Museums/Galleries' attenders are much less likely to cross over to the
performing arts disciplines, with crossover rates ranging from just 12% for 'Ballet' and
'Opera' to 34% for 'Classical Music' attenders
A similar analysis can be conducted with data from each site. For the arts manager, results
from this analysis might be useful in assessing the potential impact of marketing efforts to
attenders of various disciplines.
C. Frequency of Participation Data
Participators in each discipline were asked how many times they had attended performances
of that discipline over the past year. The resulting data (referred to as "frequency of
participation") was compiled for each site, and presented in tabular format in each site
discussion. For example, the popularity of visual arts activities in Sedona, AZ is evidenced
not only by a high participation rate for 'Museums/Galleries' (77%), but also by the fact that
those who did visit museums/galleries did so more frequently (6.34 times over the past year,
on average) than their counterparts in other cities (3.45 times for all sites combined).
Usually, the distribution of data for frequency of participation in any discipline was skewed
by several very high observations. In other words, someone inevitably reported attending
('Opera', for example) 20, 30, or even 50 or more times, while almost everyone else went
only once or twice. These observations are not necessarily invalid, but they present a
statistical problem in that they exert an undue influence when computing average figures.
Therefore, all frequency of attendance observations greater than 12 were excluded from the
data set for the purposes of computing mean frequency figures. Typically, this procedure
only eliminated several observations.
The vast majority of participators attended any given discipline only several times, at a
steeply declining rate:
• 38% of all participators attended a given discipline only once
• Another 37% of participators attended two or three times
• Another 17% attended between four and six times
These data become more interesting as frequency numbers rise above 6. Instead of
continuing to decline at a steady rate, the data begin to cluster at certain numbers, including
10, 12, 15, 20, 24, 25, and 52 - numbers which are multiples of 5 and 10, or calendar units
(12 = once a month, 24 = twice a month, 52 = once a week). To generalize, it appears that
frequency of participation figures change from actual to estimated somewhere around the
number 6.
-72
12 Local Surveys of Arts Participation
Summary Report
Demographics of the Most Frequent Attenders
Respondents were categorized into five mutually-exclusive groups based on the highest
number of times they had attended any one of the 8 "core" disciplines (7 performing arts
disciplines plus 'Art Museums/Galleries'):
1. Those who did not attend
2. Those who attended once
3. Those who attended two or three times
4. Those who attended four or five times
5. Those who attended six or more times
For example, if a respondent reported attending 'Musicals' 4 times in the past year, 'Plays'
twice, and 'Classical Music' once, they would be categorized in group #4, above, because
their highest frequency was 4.
These frequency categories were then cross-tabulated with demographic characteristics to
facilitate analysis. Results are presented in Table 9(a) in the appendix. As frequency of
participation increases, respondents tend to fall into higher age, income, and education
brackets. Education levels, particularly, rise consistently with more frequent attendance:
EDUCATION LEVELS BY FREQUENCY OF PARTICIPATION
[~l High School or Lower
Some College
Bachelor's Degree or Higher
70%
60%
s
BO
.S
>
<
0 Times
1 Time 2 or 3 Times 4 or 5 Times
Attended Any of 8 "Core" Disciplines...
6+ Times
Generally, demographic characteristics follow a consistent pattern of change until frequency
of participation reaches '4 or 5 Times', after which there is a leveling out or reversal of the
trend. For example, the percentage of respondents in the '60 and Over' age bracket increases
steadily as frequency of participation rises:
Frequency
1 Time
2 or 3 Times
4 or 5 Times
6+ Times
% 60 and Over
16%
21%
24%
29%
73
12 Local Surveys of Arts Participation
Summary Report
The racial/ethnic distribution of those who did not attend any of the 8 "core" disciplines is
different than the racial distribution of those who attended at least once (see table below).
Minority populations account for almost a third of all non-attenders (32%), but less than a
quarter of those who attended once (22%), 2 or 3 times (20%), or 6 or more times (17%).
Oddly, this trend reverses for the group of respondents who attended 4 or 5 times, with 29%
minority composition .
*" 0%
RACIAL/ETHNIC MINORTI1ES BY FREQUENCY OF PARTICIPATION
African -American ; | Hispanic
I I Other Minority
0 Times
1 Time 2 or 3 Times 4 or 5 Times
Attended Any of 8 "Core" Disciplines...
6+ Times
With respect to gender, females account for larger percentages of attenders as freqency of
attendance increases. This trend is reversed, however, at the highest level (6 or more times),
where participation by males exceeds that for females by over 10%. Frequency of
participation data from the 1992 SPPA should be examined in light of these results.
Number of Disciplines Attended
Adding another dimension to the analysis of participation rates and frequency of
participation, a separate analysis was conducted to examine the demographic characteristics
of respondents based on the number of different disciplines attended. In other words, how
does the respondent who attended 'Jazz' performances four times differ from the respondent
who attended four disciplines once? Both may have attended a total of four times, but how
do they differ? Results are presented in Table 10 in the appendix. Generally, demographic
characteristics change dramatically as the number of disciplines attended goes up:
• Almost half of all respondents who attended six or more of the 8 "core" disciplines fall
into the 40 - 59 age bracket.
• Married persons are significantly more likely to attend multiple disciplines.
• Respondents with incomes over $100,000 are more than 3 times as likely to attend 4 or
more disciplines as they are to attend only one discipline.
• Education levels increase dramatically as the number of disciplines attended goes up (see
chart on the following page).
74
12 Local Surveys of Arts Participation
Summary Report
EDUCATION LEVELS BY NUMBER OF DISCIPLINES ATTENDED
I I High School or Lower
Some College
Bachelor's Degree or Higher
>
-J
e
o
a
S
3
s
2
#
None
1 Discipline 2 or 3 Disciplines 4 or 5 Disciplines 6 to 8 Disciplines
Number of 8 "Core" Disciplines Attended...
D. Utilization of Venues by Discipline
The 1982 and 1985 SPPAs asked respondents simply to list all types of venues attended for
all performances. However, the 12 Local Surveys queried venue types for each discipline,
providing a new level of information about this subject. Table 3(a) in the appendix shows
venue utilization for each site (for all disciplines combined). Table 3(b), which is reproduced
below, shows venue types attended by discipline. As might be expected, venue utilization
varies substantially by discipline.
Venue types are sorted into three categories for easy reference; performing arts facilities (i.e.
"traditional" venue types), clubs/dinner theaters, and "alternative" venues. Consult the table
for details. Highlights of these data include:
• "Traditional" venue types were used almost exclusively for 'Opera' (95%) and 'Ballet'
(90%), presumably because of the involved technical demands of these productions and
the limited technical capacities of other types of venues.
• 'Nightclubs/Jazz Clubs' and 'Dinner Theatres' were last attended by a third (33%) of all
'Jazz' attenders, while another 20% attended 'Jazz' concerts at Parks/Open-air Facilities'.
"Traditional" performing arts venues were utilized by only 37% of 'Jazz' attenders.
• Approximately 10% of all 'Classical Music' attenders reported attending their most recent
concert at a 'Church or Synagogue', underscoring the importance of these venues in the
performing arts delivery system.
• 'Dinner Theatres' were most recently attended by 13% of audiences for 'Musicals',
indicating that small-scale musical theatre productions are an important part of the
supply of arts activities. More people attended 'Musicals' in 'Dinner Theatres' (13%) than
'Concert Halls/Opera Houses' (11%) or 'Civic Centers' (5%).
• Traditional theaters account for 59% of utilization for both 'Musicals' and 'Plays.'
75-
12 Local Surveys of Arts Participation
Summary Report
VENUE TYPES ATTENDED BY DISCIPLINE
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 3(b)
N
N
a
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o
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3
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53
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Concert Hall or Opera House
9%
39%
61%
n%
9%
30%
12%
Civic Center
5%
6%
5%
5%
4%
10%
5%
Theatre
16%
17%
26%
59%
59%
43%
28%
College Facility
7%
12%
3%
3%
9%
7%
12%
Performing Arts Facilities 37% 74% 95% 78% 81% 90% 57%
Coffee House
1%
0%
0%
0%
0%
0%
0%
Dinner Theatre
7%
2%
2%
13%
9%
2%
3%
Nightclub/Jazz Club
25%
0%
0%
1%
1%
1%
3%
Clubs/Dinner Theatre 33% 2% 2% 14% 10% 3% 6% j
Church or Synagogue
2%
10%
0%
1%
2%
0%
3%
Secondary School Facility
2%
3%
0%
2%
2%
3%
10%
Museum or Arts Gallery
1%
0%
0%
0%
0%
0%
1%
Library
0%
1%
0%
1%
0%
0%
1%
Park or Open-Air Facility
20%
6%
2%
2%
2%
1%
12%
Town Hall/City Hall
0%
0%
0%
0%
0%
0%
1%
YMCA, YWCA, YMHA, YWHA
0%
0%
0%
0%
0%
0%
1%
Alternative Venues 25% 20% 3% 6% 7% 5% 28%
Other
5%
4%
0%
1%
1%
2%
8%
Don't Know
0%
0%
0%
1%
2%
1%
0%
Refused
0%
0%
0%
0%
0%
0%
0%
TOTAL 100% 100% 100% 100% 100% 100% 100%
HOW TO READ THIS TABLE: One quarter of all jazz attenders in the combined sample
reported seeing their most recent jazz performance at a 'Nightclub/Jazz Club'.
Within the category of 'Performing Arts Facilities', the data suggest that respondents had
difficulty classifying facilities based on the venue types provided. In some cases,
respondents reported attending 'Concert Halls/Opera Houses' in cities where none exist, and
frequently confused 'College Facilities' with Theatres' and other venue types. Definitions of
venue types were not provided in the survey.
A similar analysis can be conducted for each site, although the number of attenders for each
venue type are often too low to produce statistically reliable results at an acceptable level of
confidence.
76
12 Local Surveys of Arts Participation Summary Report
E. Utilization of Venues by Demographic Characteristics
Further examination of venue types attended was conducted to reveal any demographic
differences between respondents who utilize the various venue types. Table 3(c) shows
venue utilization by demographic characteristics (race, age, and income) for the 12 sites
combined. A number of interesting observations can be found in this data, although
sampling error rates limit the reliability of some of this data. (Also, given the large
differences in utilization of venue types by discipline, it is of limited value to aggregate all
venue utilization except for very general purposes.)
•
African-American and Hispanic respondents used "purpose-built" concert halls and opera
houses less frequently than Whites. This may be attributed in part to the nature of
programming (opera and ballet, esp.) which is typically presented at these venues, in
addition to a host of accessibility issues including transportation and ticket prices.
• Hispanic respondents were about three times more likely to utilize 'Civic Centers' (14%)
than African- American respondents (4%) and white respondents (5%).
• As might be expected, use of College Facilities' is most prevalent among the youngest
respondents (13% for ages 18-29, but only 5% for ages 40-59). Utilization of
'Nightclubs/Jazz Clubs' also drops off in the higher age brackets (7% for ages 18-29 vs.
2% for ages 60+).
• As might be expected, the very wealthiest respondents are less likely to attend
'Alternative Venues', and more likely to attend traditional theaters.
F. Sources of Information by Demographic Characteristics
All respondents to the 12 Local Surveys were asked "How do you learn or find out about arts
events in your community?" Complete results are presented in Table 6(b) in the appendix.
For analysis, responses were categorized into several groups, with results as follows:
%of
Respondents* Categories of Sources of Information
82% Any Media (newspapers, television, radio, magazines)
24% Any Word-of-Mouth (word of mouth, friends/relatives)
16% Any Targeted Appeal (mailing/flyer, telemarketing)
15% Any Other (posters/notices, school notices, other)
^percentages do not total 100% because multiple selections were allowed.
Overall, results show that newspapers (74%) are the most frequent source of information on
arts events. 'Television' (26%), ranks higher than 'Radio' (20%) as a source of information
about arts events, with 'Word-of-Mouth' and 'Mailing/Flyer' each reported as a source of
information for 16% of respondents. Only 10% of respondents reported that
"Friends/Relatives' were a source of information about arts events, while 9% received
information from Posters/Notices'. With respect to demographic characteristics, several
observations are of interest:
77
12 Local Surveys of Arts Participation Summary Report
• Respondents between the ages of 30 and 59 tend to get arts information from
newspapers. Respondents aged 30 to 39 also reported 'Radio' as a source of information
more frequently than respondents in other age categories.
• Respondents '60 and Over' years of age are more likely to receive arts information from
'Mailings/Flyers'.
• Younger respondents aged 18 - 29 are more likely than other age groups to receive arts
information from 'Posters/Notices' and 'School Notices'.
Gender
• Females reported 'Mailings/Flyers' as a source of information about arts events more
frequently than males. Women also reported 'Newspapers' as a source of information
more frequently than men, while men turned to 'Magazines' for arts information more
often than women.
Race
• White respondents receive arts information through the media (86%) more frequently
than respondents who are African- American (77%), Hispanic/Latino (62%), and other
races (66%). Conversely, African- Americans are significantly more likely to receive arts
information by Television' or 'Radio' than other racial groups.
• African- American respondents reported "Friends/Relatives' as a source of arts
information twice as frequently as Whites (18% vs. 9%).
• Hispanic/Latino respondents listed 'Posters/Notices' as a source of information about arts
events more frequently than other races, although the small number of Hispanic/Latino
respondents (275 across all sites) cause larger sampling error rates for this analysis.
Education
• As education levels rise, so does usage of the media for arts information. Also, the most
highly educated respondents (and also the most wealthy) are much more likely to get arts
information from 'Mailings/Flyers'.
Income
• Respondents with annual incomes less than $20,000 were far less likely to report
'Newspapers' as a source of arts information than respondents with incomes over
$20,000. Conversely, those with lower incomes were more likely to report 'Television'
as a source of information.
Marital Status
• Aside from media sources, single respondents are more likely than married respondents
to receive arts information by "Word of Mouth', whereas married and widowed
respondents are more likely to get their information from 'Mailings/Flyers'.
Each of the 12 local sites should examine the sources of arts information for their own
respondents, although cross-tabulations by demographic characteristics will result in numbers
too small to be meaningful. Of particular value to arts producers and presenters in each area
will be the verbatim answers reported for the actual newspapers, radio and television stations
listed by respondents.
78-
12 Local Surveys of Arts Participation Summary Report
G. Reasons for Not Attending More Often
Often referred to as "barriers to attendance", reasons for not attending more often were also
queried in the 1982 and 1985 national SPPAs, but were dropped from the 1992 national
survey. For each of the 12 Local Surveys, respondents were first asked whether or not they
would like to attend cultural events more often. Those who answered "Yes" (an average of
69%) were then asked to list the reasons why they don't attend more frequently. Answers
were coded into 17 different categories, ranging from 'Don't have time' to 'No one to go with'.
Individual reasons were probed in some markets. Results are presented in Table 4(a) on the
following page.
Among those who would like to attend more often, 61% cited one reason - "Don't Have
Time" - overshadowing all other reasons by a factor of 3 for the combined data set. The next
two most frequent reasons cited relate to cost - "Overall Cost of Going to Events" (20%), and
"Cost of Tickets" (19%). All other reasons were cited by 10% or fewer of the respondents.
These findings are generally consistent with results of the 1982 and 1985 SPPAs, although
the samples were not designed to be comparable. Several interesting variations occurred
between sites:
•
'Not available/Not enough variety' was a much more important reason for not attending
for respondents located outside of large urban areas (i.e., Sedona, Winston-Salem, and
the 3 Nevada sites). Generally, one would expect lower participation rates in areas where
the supply of arts programming is limited, and this holds true for the 3 Nevada sites and
to some extent for Winston-Salem. However, 22% of Sedona respondents, despite the
area's very high participation rates, still perceive availability of arts programming as a
significant problem.
'Cost of Tickets' and 'Overall Cost of Going to Events' are cited as barriers to attendance
by Seattle respondents most frequently (26% cited each), compared to averages for all 12
sites (19% and 20%, respectively). In contrast, only 9% of Rural Nevada respondents
cited 'Cost of Tickets' as a barrier.
Lack of Child Care/Baby-sitting' was cited by Chicago respondents significantly more
often (13%) compared to respondents in other urban areas (7% for Pittsburgh, 10% for
Philadelphia).
As would be expected, 'Distance/Travel Time/Inconvenient Location' was a major issue
for Rural Nevada respondents (19%), and also an issue for Sedona respondents (11%).
Curiously, 10% of Chicago respondents who would like to attend more often also cited
this as a reason, although this may be due in part to the extent of the geographic area
surveyed, which included areas over 60 miles from downtown Chicago.
Problems Related to Age/Health' were cited by 12% of Broward County respondents
who would like to attend more often, compared to a 6% average for all 12 sites.
Weighted age data shows that Broward County respondents have the highest average age
of the 12 sites (50).
'Transportation/Traffic/Parking Problems' were most prevalent for Philadelphia
respondents (10%), but not for Chicago respondents (4%).
-79
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as a reason for not attend
12 Local Surveys of Arts Participation Summary Report
Primary Reason for Not Attending More Often
Additionally, all respondents were asked to identify the single or "primary" reason for not
attending cultural events more often. The resulting data are presented in Table 4(b) in the
appendix. A different picture emerged when respondents were forced to choose the single
most important reason for not attending more often. For the purposes of analysis, answers
were categorized into five sub-groups as follows:
CATEGORY REASONS
Personal Barriers Lack of Interest, Don't Have Time, Prefer to Watch
TV, Just Don't Get Around to It, Don't Know
(These responses show that the respondent is not
really interested in attending more arts events than
s/he already does.)
Price Factors Cost of Tickets, Overall Cost of Going to Events
Social/Physical Barriers Lack of Child Care/Baby-sitting, No One to Go
With, Problem Related to Handicap, Problem
Related to Age/Health
Locational Issues Transportation/Traffic/Parking Problems,
Distance/Travel Time/Inconvenient Location,
Crime/Fear of Crime
Quality/ Availability Tickets Sold Out, Poor Quality of Performance, Not
Available/Not Enough Variety
Some of the observations noted above still come through in this analysis, but some factors
become less important while new ones surface.
• When forced to identify the single most important reason for not attending more often,
Price factors remain important for Seattle respondents, but also become more prominent
reasons for Philadelphia respondents.
• Concern about child care/baby-sitting all but disappears for Chicago respondents.
• 'Crime/Fear of Crime' emerges as the most important issue for 1 1 % of Dade County
respondents and for 1% of Broward County respondents; in other sites, safety appears to
be less of an issue.
• Distance and availability overshadow all other reasons for not attending for over half of
all Rural Nevada respondents. Only for the 3 Nevada sites is 'Not Available/Not Enough
Variety' perceived to be the primary barrier to attendance for a significant number of
respondents. These issues shrink in importance for Sedona and Winston-Salem
respondents.
• Social/physical barriers (especially 'No One to Go With') come forward as important
reasons for not attending for Pittsburgh and San Jose/Santa Clara County respondents, in
-81-
12 Local Surveys of Arts Participation Summary Report
contrast to all other 10 sites. According to lifestyle data, these two areas have a high
proportion of single households.
• Personal barriers (reasons that are within the control of the individual) are cited as the
most important reasons for not attending more often by an average of 44% of all
respondents. Thus, a majority of respondents (56%) reported that external or
environmental factors which are beyond their control (i.e., cost, traffic, etc.) are the most
important reasons for not attending more often.
Further Explanation of Barriers for Demographic Sub-Groups
Further analysis of these data shows some interesting differences between demographic sub-
groups. From Table 4(c) in the appendix, it is observed that:
• Older respondents (60+) were less likely to cite personal barriers for not attending more
often (e.g., 'Don't Have Time' was less of an issue) but they were more likely to cite
social/physical barriers and locational Issues.
• Younger respondents (1 8 to 29) were less concerned with price factors than respondents
in other age groups.
• Men were more likely to cite personal barriers than women, whereas women expressed
greater concern over social/physical barriers and price factors.
• African-American respondents tended to cite more problems related to locational issues.
Hispanics cited availability/quality reasons for not attending almost twice as frequently
as African- Americans and Whites.
• Locational Issues appear to be more of a perceived problem for respondents with lower
education levels, whether located in rural or large metropolitan areas.
• As would be expected, cost-consciousness decreases as income levels rise, and unmarried
respondents cite fewer social/physical barriers to increased attendance (i.e., lack of child
care/baby-sitting, etc.).
By studying these data, local sponsors may gain insight into the unique challenges facing
their area with respect to barriers to increased attendance.
Other Topics
Data from the 12 Local Surveys are available for supplemental analysis2. Other topics which merit
further analysis include live vs. media arts participation, sources of information about arts events, and
attitudes about arts participation. The survey data will continue to yield additional value from the
focused study of these and other topics.
inquiries should be directed to the Research Office, National Endowment for the Arts, 1 100 Pennsylvania
Ave. NW, Washington DC, 20506.
-82-
12 Local Surveys of Arts Participation Summary Report
IV. METHODOLOGY
A. Survey Research Methodology
Commissioned by the National Endowment for the Arts in collaboration with local co-
sponsors, the 12 Local Surveys of Public Participation in the Arts were conducted by Abt
Associates, of Cambridge, MA, over a three month period from February 12 to May 15,
1992. The surveys were intended to augment the national survey of participation in the arts
(SPPA) conducted by the Bureau of the Census throughout 1992, and to provide the twelve
participating communities with research data to meet their specific needs.
Design
Each survey was designed to include three components:
1. The "Core Questionnaire" duplicated key questions from the 1992 national survey.
These questions pertained to participation rates in the performing and visual arts,
literature, and several other disciplines, as well as arts participation through the
media. Additional questions (not on the national survey) asked participators to
indicate the frequency of attendance over the past 12 months, and in what type of
venue they had most recently attended.
2. "Community-Specific Local Modules" were developed in conjunction with Abt
Associates to address the specific information needs of the local sponsors.
Questions pertaining to "reasons for not attending more often" and "sources of
information about the arts" were common across all sites, in addition to a series of
questions unique to each survey.
3. Basic Demographic Information was collected for all respondents. This included
race/ethnicity, age, gender, education, household income, and marital status.
The scope of this summary report is limited to questions common to all 12 surveys,
including participation rates, frequency of participation, venue types attended, sources of
information about arts events, interest in attending more often, reasons for not attending
more frequently, attitudes about arts participation, and demographic characteristics of
respondents.
Further discussion of survey design issues, including differences between the local
questionnaires and the national SPPA's, may be found in the report appendix.
Sampling Methodology and Response Rates
Using list-assisted random digit dialing telephone survey approach, households were sampled
in each of the sites until the goal of approximately 400 interviews was achieved (600 in the
Philadelphia metropolitan area), for a total of approximately 5,000 respondents. A stratified
sampling approach was taken for several of the sites. For example, respondents for the
Pittsburgh/Allegheny County site were drawn equally from within the City limits of
Pittsburgh and from the remainder of Allegheny County, so that participation in the two
areas could be compared. In Dade County, telephone exchanges with a high percent minority
population were over-sampled to facilitate analysis between minority and non-minority
-83-
12 Local Surveys of Arts Participation
Summary Report
participation. Similarly, for the Philadelphia site, an additional 200 interviews were
completed in areas of the city with high percent minority populations. Spanish-speaking
interviewers were used, as needed, to conduct interviews for three sites; Dade County,
Broward County, and San Jose/Santa Clara County.
For each household sampled, the person over 18 who had the most recent birthday was the
eligible respondent. A maximum of 6 attempts were made to obtain an answered call for
each residential number dialed.
The majority of interviews were conducted during the early evening in the respondent's local
time zone or on the weekend. Callbacks were scheduled as needed when the eligible
respondent was unavailable during the initial attempt. The interviewer introduced
him/herself as "calling for the local sponsor about a study of local participation in the arts."
Interviewers used Computer Assisted Telephone Interviewing (CATI) to collect data and
guide them through the survey instrument. Response rates, according to Abt Associates, are
reported in the following table (sorted from highest to lowest).
SITE
Response
Rate
Rural Nevada
52%
Reno
50%
Pittsburgh
48%
Sedona
45%
Winston-Salem
45%
Philadelphia
44%
Seattle/King County
43%
San Jose
43%
Las Vegas
42%
Chicago
42%
Broward County
41%
Dade County
40%
On average, the survey took 17 minutes to administer.
Weighting
Typically, data are weighted to correct for a disproportionate sampling distribution. Abt
Associates applied two weighting procedures to the sample data for each site. First, each
respondent's data was assigned a weight equal to the number of adults (18+) in the
household. Thus, if the respondent lived in a household with 2 other adults (parents or
grandparents, for example), a weighting factor of 3 was applied. This procedure corrects for
the unequal selection probabilities introduced by selecting one adult from each household,
according to Abt Associates.
Second, a post-stratification adjustment was made to the weight described above, to bring the
weighted sample distribution into closer agreement with the actual distribution of four
demographic variables within each site: age, race, gender, and household income. This
procedure was intended to reduce the potential for bias arising from non-response, and also
to adjust the sample for non-coverage of households without telephones. For Dade County,
84-
12 Local Surveys of Arts Participation Summary Report
Allegheny County, and the Philadelphia MSA, the post-stratification adjustment was carried
out for each subarea before they were combined.
These weighting procedures were primarily intended to improve the reliability of survey
results for local users. Weighted percentages are used in the tables throughout this report.
Sampling Error
The survey percentages used throughout this report are subject to sampling variability,
because they were derived through sampling techniques and not through a census of the
entire area. Therefore, a standard error must be calculated to define the area surrounding
each survey percentage in which the actual "true but unknown" value lies, at a certain level of
confidence.
Two different types of error rates apply to different analyses of the data. Comparison of rates
within a site (for example, jazz participation rates for Dade County by race) requires that
standard error rates be calculated based on the unweighted sample size for that site (usually
about 400, but 600 for Philadelphia). For a sample size of 400, at the 95% confidence level,
error rates will range from about 2% to 5%, depending on the survey percentage in question.
Different standard error rates apply when evaluating the statistical significance of survey
percentages across multiple sites. For instance, to see if classical music participation rates
are different between Las Vegas and Reno (and other sites), confidence limits must be
calculated based on the entire sample size for all 12 sites for the variable in question. Unlike
the "Single-Site" error rates, these rates allow us to determine whether survey percentages
between sites are significantly different. For each of the common variables on all 12 surveys,
a standard error was calculated on the total number of respondents answering each question,
at the 95% confidence level. Standard error figures for the various participation rates ranged
from .67% to 1.38%.
Consult the report appendix for Standard Error Tables and further discussion of these error
rates.
B. Methodology for Research on Local "Supply" of Arts Facilities and Programs
AMS staff contacted each local sponsor to determine the extent of existing information
regarding cultural facilities and programs. In some cases, sponsors were able to provide
complete information on numbers of performances, cultural attractions, and types of
performance venues (with seating capacities) from existing directories, periodic cultural
calendars and/or annual reports. In other locations, site sponsors indicated that no data
existed and suggested alternate approaches for gathering "arts supply" data. One local
sponsor held a staff meeting to collect information from all relevant staff. A combination of
approaches was utilized to obtain data as required, including phone calls to secondary
contacts (arts service organizations, city and state arts councils, etc.).
Secondary sources of local arts activity data included national and regional performing arts
facility and museum directories, and a variety of other publications obtained by the
researchers. In several cases, a great deal of difficulty was encountered in collecting data on
any systematic basis. Thus, the amount and quality of local arts activity data varies from site
to site. Appropriate qualifications regarding local arts activity data are included in each site
discussion.
-85-
12 Local Surveys of Arts Participation Summary Report
A lack of compiled data on arts activity levels was a problem for some sites. Only two local
sponsors had this information easily at hand, and another three were able to compile arts
activity data from a variety of existing sources. In all cases, arts activity levels are estimated.
For several sites, where activity levels were too difficult to ascertain, qualitative data and
anecdotal narrative were used to describe the local arts environment Future research of a
similar nature would benefit from a planned data collection phase at the local level, over a
period of time coinciding with the survey time frame.
C. Summary of Methodologies for 1982, 1985 and 1992 SPPA's
National surveys of public participation in the arts (SPPA's) were conducted in 1982, 1985,
and 1992 by the U.S. Census Bureau for the National Endowment for the Arts. Results from
these research efforts can be projected to the U.S. population, and provide valuable
information on arts participation and related topics. Since data from the 12 Local SPPA's
were to complement and add context to the national surveys, it is necessary to understand
what methodologies were used for the national surveys, and to recognize any relevant
methodological differences between the 12 Local Surveys and the three national surveys.
Summaries of the methodologies of the national studies are provided below. With respect to
both survey design and sampling methodology, these research efforts were handled
somewhat differently.
!9_&2
The 1982 Survey of Public Participation in the Arts, conducted by the U.S. Census Bureau,
involved a sample of 17,254 individuals, interviewed mostly in person (about 75%), with the
remainder surveyed by telephone. Census Bureau population counts were used to draw up
the sample in such a way that all individuals living in households in the United States had an
equal chance of selection. All individuals aged 18 and over in the selected households were
eligible to be included in the survey. Fewer than 15% of eligible respondents were not
interviewed, and the final data were slightly weighted to reflect age, gender, and race of the
1982 U.S. population.
The SPPA questions immediately followed a crime survey, which was part of an on-going
panel study of 72,000 households conducted by the Bureau of the Census. Each month, from
January through December 1982, a national cross section of 1,450 respondents was surveyed
on arts participation. From January through October, the five- minute interview covered a
set a of "core questions" about arts participation in the previous 12 months, plus a set of
"rotating" questions about arts socialization, mass media usage, musical preferences, etc.
The November and December interviews lasted 20 minutes and asked all of the rotating
questions.
mi
The survey methodology for the 1985 SPPA was quite similar to that of 1982. Once again,
the SPPA questions were incorporated in the Census Bureau's omnibus panel study for a
randomly selected subset of households. Similarly, approximately 75% of interviews were
conducted face-to-face in the respondents' homes, and less than 15 percent of eligible
individuals could not be interviewed. The primary difference between the 1982 and 1985
SPPA's was that the 1985 survey was conducted only over a six month period (from January
-86-
12 Local Surveys of Arts Participation Summary Report
through June 1985), and all were five-minute interviews. Since no respondents were asked
all sets of rotating questions (as in Nov. and Dec. 1982), inter-module analyses could not be
conducted with the 1985 data.
Thus, the sample size per month in 1985 was larger - 2,200 households, or one fourth of all
households included in the omnibus survey. The total 1985 SPPA sample size was 13,675,
compared to 17,254 for 1982.
Results of the 1982 and 1985 SPPA's were analyzed by the University of Maryland's Survey
Research Center, under the direction of John P. Robinson, Ph.D, and published in October
1985 and March 1987, respectively. The March 1987 report included two volumes. Volume
I comprised a project report on the 1985 SPPA, while Volume II compared 1982 and 1985
data. Participation rates from these studies are reproduced in this report (e.g. Table 1).
Numerous additional analyses of the 1982 and 1985 SPPA data were commissioned by the
NEA Research Division, a listing of which may be found in the bibliography to this report.
mi
As with the earlier SPPA's, respondents to the 1992 SPPA were part of a larger, continuously
rotating panel of respondents who were interviewed every six months over a three year
period. Sample selection was similar to the two previous SPPA's - Census Bureau
population counts were used to draw the sample in such a way that all individuals living in
households in the United States had an equal chance of selection. All adults aged 18 and
over were eligible to be interviewed.
About 80% of the interviews were conducted by telephone, in contrast to the 1982 and 1985
SPPA's, which were conducted primarily in-person. (The Census Bureau states that no
effective differences have generally been found between in-home interviews and telephone
interviews.) During the first six months of 1992, only core participation questions were
asked of each respondent, and the interviews lasted approximately eight minutes. Data from
a total of 6,947 interviews comprise the sample from the first six months. During the last six
months of 1992, additional questions were asked of all respondents, resulting in an average
interview time of about 16 minutes. Sample size for the last six months of data collection
was not available for this report, but it is anticipated that it will be approximately 6,000.
Approximately 20% of all eligible adults in the sampled households could not be
interviewed, slightly more than in 1982 and 1985. Again, the final data were weighted
slightly to ensure that the final sample was completely representative of the 1992 U.S.
population in terms of age, race and gender.
D. Methodological Comparisons and Possible Sources of Bias
Compared to the 1982 and 1985 SPPA's, significantly higher participation rates were
observed in the 12 Local Studies. Data from the 1992 SPPA (which was not available for
this report) will uncover any changes in arts participation levels since 1985 on a national
basis. It is possible that actual participation rates may have increased over the past seven
years. Further, arts participation rates can be expected to vary from site to site, with higher
rates expected in large urban areas where the supply of arts activity is greatest. The 12 sites
studied were predominantly urban, and this might explain some of the upward variance in
participation rates.
87
12 Local Surveys of Arts Participation Summary Report
However, the amount and consistency of upward variance clearly suggests that
methodological differences account for at least some of this variance. Several
methodological differences are summarized below, and are discussed further in the report
appendix.
1. Sponsorship/Survey Context
The 12 Local Surveys and the National SPPA's were presented to eligible
respondents in a significantly different manner. The National SPPA's immediately
followed surveys on crime, an issue that affects everyone to some degree. This may
have served as an incentive to participate in the survey, attracting a very
heterogeneous group of people as far as arts participation is concerned. On the other
hand, the 12 Local Surveys were introduced as studies of local participation in the
arts, creating an opportunity for 'self-selection' in or out of the survey based on the
respondent's interest in the arts.1 Fundamentally, respondents to the national SPPA's
had already completed an unrelated (crime) survey, while respondents to the 12
Local Studies were recruited to complete a local survey of arts participation.
2. Telephone vs. Face-To-Face Interviews
Although tests have shown that the quality of respondents' answers does not vary
significantly between telephone and in-person interviews, it is much easier for
respondents to terminate a telephone interview. Response rates for the 12 Local
Surveys ranged from 40% to 52%, indicating that up to 1,000 households were
contacted in some markets to achieve 400 completed interviews. (These response
rates are typical of telephone surveys of this type, although response rates of 55% or
higher are common.) In contrast, completion rates for the National SPPA's ranged
from 80% to 85%.2 Telephone sampling also introduces the possibility of non-
response bias resulting from the inability to sample households without telephones,
although weighting procedures are supposed to correct for this.
3. Respondent Eligibility
For the National SPPA's, all adults (18+) in the sampled households were eligible
respondents, in contrast to the 12 Local Surveys, for which the one adult (18+) in the
household with the most recent birthday was the eligible respondent. Although this
procedure is methodologically sound, it creates another opportunity for disinterested
but eligible respondents to select themselves out of the sample (i.e., to terminate the
call).
Recognizing potential problems associated with the introductory language in the telephone script, Abt
Associates tested an alternative introduction in one of die local areas to see if results would be different.
Response rates were not observed to be significantly different, and the telephone script was not changed.
2Even though the 1992 National SPPA was conducted primarily by telephone, respondent households had
been contacted previously by the Census Bureau about participating in an on-going panel study. These
respondents were far more likely to complete die SPPA than if they had been contacted through random-digit
dialing.
-88-
12 Local Surveys of Arts Participation Summary Report
4. Out-of-Town Arts Participation
None of the arts participation surveys, either local or national, ask respondents to
distinguish between local and out-of-town arts participation. This distinction is
unnecessary with the national surveys because results are generalized to the U.S.
population. However, out-of-town arts participation may have skewed rates higher
in several of the 12 local sites because of two factors. First, several of the local sites
are near other cities with high levels of arts activity. (For example, Sedona, AZ
residents commonly drive to Flagstaff for arts presentations.) Secondly, several of
the sampled areas (i.e., Broward and Dade Counties) are populated by seasonal
residents who may also attend arts events in another area.
5. Language Barrier
For the 12 Local Surveys, an unknown number of calls were terminated immediately
due to a language barrier [figures not released by Abt Associates], although some
interviews were conducted in Spanish for the Dade, Broward, and San Jose sites.
Participation rates in the European-based arts disciplines are generally lower among
non-English speaking immigrant groups, for cultural and socioeconomic reasons.
6. Sampling Periods vs. Seasonality of Arts Activity
The 1982 and 1992 SPPA's were conducted over a calendar year, with an even
distribution of interviews each month, while the 1985 SPPA involved data collection
only during the first six months of 1985 (January - June), which includes months of
both high and low arts activity. (Arts programming drops off sharply during the
summer months, particularly with respect to traditional programming.) The 12 Local
Surveys were conducted during one of the most active 3-month periods for arts
programming - mid-February through mid-May. Recent attendance may be more
easily recalled by respondents, raising the possibility of higher participation rates for
respondents interviewed during the performing arts season.
Generally, the methodology used for the 12 Local Surveys resulted in a more homogeneous
group of respondents in comparison to the national samples. While the demographic
characteristics of the 1982 and 1985 SPPA samples are almost identical and closely follow
U.S. averages, demographics for the 12 Local Studies sample (5,040 respondents) are
consistently higher.3
For example, with respect to education levels, the percentages of local respondents who
completed college exceed the actual figures for the base population of the geographies
surveyed by anywhere from 6% to 20%. Table 8, in the appendix, presents education data
for each of the 12 sites. Since higher education levels are closely associated with arts
attendance, this analysis leads to the conclusion that respondents to the 12 Local Surveys are
more likely than average to be arts attenders.
3 Aggregated sample data for die 12 Local Surveys cannot be compared to data from a random sample of die
United States. In fact, the actual demographic characteristics of the 12 sites combined (using 1990 census
data) are somewhat "higher" than figures for die U.S. as a whole. Even accounting for the higher base area
demographics, sample demographics are still substantially higher - even using weighted percentages.
-89-
12 Local Surveys of Arts Participation Sum man' Report
Highest Education Level Achieved
(Excerpt from Table 8)
Bachelor's
PITTSBURGH/ High School Degree or
ALLEGHENY COUNTY or lower Some College Higher
Unweighted Sample Data
42%
24%
33%
1990 Census Data
57%
21%
23%
Variance
-15%
+3%
+10%
Another possible explanation of the variation between local and national participation rates
would be the larger sampling error rates associated with smaller sample sizes. If this were
true, both positive and negative variation would occur. However, the consistency and
magnitude of higher participation rates for the 12 local sites suggest that at least some of this
variation is not random.
E. Uses of the Data
Results from the 12 Local Surveys are a valuable resource of information for the arts field in
general, and particularly for the local sponsors. Given the various limitations of the data
discussed in this section, appropriate uses of the survey results include:
• Study of the relationship between the supply of cultural activity and participation rates
within a given geography;
• Comparison of participation rates, frequency of participation, and other results between
the 12 sites studied;
• Cross-tabulations of data within a site, so long as the sample size of sub-groups is large
enough to allow for reasonable error rates. Such analyses might include:
- demographic characteristics of sub-groups (e.g., jazz participation by race, etc.)
- cross-discipline participation rates
- utilization of venues by discipline, or by demographic characteristics
- source of arts information by demographic characteristics
- reasons for not attending by demographic characteristics
- frequency of participation by demographic characteristics
- attitudes about arts participation by demographic characteristics
In addition, each survey contained a variety of site-specific questions (including questions for
which verbatim answers were recorded), which deserve thorough analysis.
-90-
12 Local Surveys of Arts Participation Summary Report
APPENDIX
-91
12 Local Surveys of Arts Participation
Summary Report
A. Directory of Data Tables
Data files are available for further analysis. Inquiries should be directed to the Research
Office, National Endowment for the Arts, 1 100 Pennsylvania Ave. NW, Washington DC,
20506.
TABLE # DESCRIPTION
Table 1: All participation rates for each of the 12 sites, plus applicable figures for
1982 & 1985 SPPA's.
Table 1(a): Arts participation rates for demographic sub-groups, core disciplines
Table 1(b): Arts participation rates for demographic sub-groups, literature
Table 1(c): Arts participation rates for demographic sub-groups, media
Table 2: Interest in attending more often, for each of the 12 sites
Table 3(a): Venues types attended - by site, for all disciplines
Table 3(b): Venues types attended - by discipline, for 12 sites combined
Table 3(c): Venue types attended by demographic characteristics
Table 4(a): Reasons for not attending more often, total percentages by site
Table 4(b): Primary reason for not attending more often, percentages by site
Table 4(c): Primary reason for not attending more often, for demographic sub-groups
Table 5: Attitudes about arts participation, by site
Table 6(a): Sources of information on arts events, by site
Table 6(b): Sources of arts information by demographic characteristics
Table 7(a): Unweighted sample demographics, by site (raw data)
Table 7(b): Weighted sample demographics, by site
Table 8: Education levels: sample data vs. 1990 census
Table 9: Mean frequency of participation, by site
Table 9(a) Frequency of participation by demographic characteristics
Table 10: Number of disciplines attended by demographic characteristics
Table 1 1 : Cross-discipline participation rates (see Special Topics section)
-92-
ARTS PARTICIPATION RATES BY SITE
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages)
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19%
15%
20%
6%
27%
20%
7%
10%
42%
52%
62%
10%
10%
Classical Music
20%
9%
18%
10%
17%
19%
20%
20%
19%
23%
12%
21%
13%
13%
Opera
5%
3%
9%
2%
4%
4%
7%
5%
7%
12%
7%
8%
3%
3%
Musicals
25%
20%
19%
12%
24%
17%
26%
32%
24%
34%
20%
30%
19%
17% 1
Plays
18%
16%
15%
12%
25%
22%
29%
21%
18%
21%
15%
21%
12%
12%
Ballet
7%
7%
7%
8%
3%
7%
13%
5%
5%
13%
10%
9%
4%
4%
Other Dance
8%
11%
12%
10%
13%
9%
13%
10%
11%
9%
12%
9%
N/A
N/A )
Art Museum/Gallery
38%
39%
41%
39%
77%
32%
52%
42%
44%
41%
35%
44%
22%
22%
Any of 7 Performing Arts Disciplines
46%
46%
43%
33%
54%
42%
55%
54%
52%
57%
«%
5(5%
N/A
N/A
Any of 8 "Core" Disciplines
57%
59%
56%
52%
82%
50%
69%
63%
63%
(55%
52%
67%
N/A
N/A
OTHER DISCIPLINES
Arts/Crafts Fair/Festival
55%
50%
62%
56%
57%
45%
55%
49%
42%
61%
45%
54%
49%
73%
44%
39%
40%
Attend Movie Theater
72%
67%
68%
63%
84%
65%
78%
77%
70%
75%
63%
78%
63%
59%
Historic Park/Monument
41%
36%
50%
42%
60%
46%
44%
44%
47%
40%
41%
51%
37%
36%
LITERATURE
Read Books for Pleasure
60%
71%
76%
74%
82%
69%
82%
75%
75%
75%
62%
74%
73%
8%
29%
64%
<5P%
15%
13%
N/A
N/A
Read Plays
8%
4%
9%
6%
9%
7%
9%
7%
9%
5%
9%
10%
N/A
N/A
Read Poetry
25%
33%
35%
32%
42%
32%
33%
29%
28%
27%
31%
29%
N/A
N/A
Read Novels/Short Stories
59%
65%
73%
66%
70%
60%
71%
64%
64%
68%
56%
70%
N/A
N/A 1
Read Plays or Poetry or Novels
63%
69%
76%
71%
74%
66%
75%
69%
68%
71%
<5J%
72%
56%
56%
Attend Poetry Readings
7%
13%
14%
20%
22%
13%
16%
15%
14%
17%
21%
20%
N/A
N/A
Attend Readings of Novels/Books
8%
9%
13%
12%
20%
15%
18%
13%
11%
13%
16%
16%
N/A
N/A
TELEVISION/VIDEO
Jazz
31%
37%
35%
27%
29%
30%
40%
37%
34%
36%
38%
36%
36%
44%
23%
29%
27%
36%
43%
75%
18%
17%
Classical Music
30%
33%
43%
32%
40%
36%
38%
46%
50%
45%
45%
36%
25%
24%
Opera
16%
16%
20%
13%
17%
16%
21%
24%
22%
28%
31%
23%
12%
12%
Musicals
22%
25%
28%
20%
33%
26%
26%
30%
29%
30%
33%
29%
20%
18%
Plays
22%
21%
25%
19%
34%
22%
26%
30%
26%
28%
28%
29%
26%
21%
Any Dance
31%
32%
37%
32%
41%
32%
36%
36%
36%
35%
39%
34%
N/A
N/A
Artists/ Art/ Art Museums
34%
36%
46%
41%
61%
40%
53%
45%
44%
35%
43%
37%
23%
25%
Any TV Exposure
65%
69%
77%
67%
82%
■57%
78%
75%
80%
74%
77%
74%
N/A
N/A ,
RADIO OR RECORDINGS
Jazz
40%
50%
46%
36%
52%
43%
58%
56%
48%
51%
44%
57%
51%
61%
28%
23%
10%
77%
N/A
'" N/A
N/A \
' N/A
Classical Music
52%
54%
61%
51%
70%
58%
65%
64%
60%
59%
61%
65%
Opera
24%
18%
22%
14%
21%
21%
28%
30%
28%
31%
29%
27%
N/A
N/A
Musicals
20%
16%
16%
16%
22%
14%
21%
25%
23%
23%
23%
24%
N/A
N/A
Plays
6%
7%
8%
7%
13%
11%
10%
12%
10%
12%
11%
8%
N/A
N/A
Any Radio/Recordings
67%
74%
74%
62%
82%
70%
78%
8J%
73%
75%
70%
81%
N/A
N/A
HOW TO READ THIS TABLE: 25%
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NOTE: Italicized figures were computi
NOTE: N/A = Not Available
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1
] ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS
J 12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
■
Performing Arts Disciplines
73
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AGE
18 to 29
19%
10% 4%
27%
19%
7%
11%
48%
43%
42%
■30 to 39
16%
17% 4%
25%
16%
7%
8%
43%
53%
50%
1 40 to 59
16%
23%
8%
29%
24%
8%
11%
44%
55%
49%
Over 60
9%
24%
8%
28%
18%
7%
13%
34%
45%
36%
t GENDER
■Male
17%
18% 7%
25%
19%
6%
10%
44%
44%
45%
Female
14%
20% 6%
29%
21%
8%
10%
41%
54%
44%
.RACE
■White
15%
22% 8%
30%
21%
8%
10%
45%
56%
48%
* Black
19%
13% 2%
24%
16%
3%
9%
32%
30%
30%
Hispanic
13%
6% 2%
16%
9%
4%
10%
41%
33%
31%
■Other
10%
10%
4%
15%
19%
4%
14%
32%
30%
41%
VEDUCATION
High School or Lower
9%
8%
4%
19%
10%
3%
6%
27%
35%
31%
■ Some College
17%
19%
3%
24%
19%
8%
9%
40%
56%
48%
■Bachelor's Degree or Higher
21%
31%
12%
40%
32%
11%
16%
62%
61%
56%
INCOME
Less than $20,000
10%
13%
4%
16%
11%
2%
8%
27%
30%
29%
l$20,000-$49,999
15%
15% 5%
26%
17%
5%
10%
42%
52%
47%
1 $50,000-599,999
22%
27%
8%
36%
31%
11%
14%
57%
62%
54%
$100,000 or More
25%
34%
17%
48%
39%
14%
14%
71%
66%
64%
mMARITAL STATUS
[Married
15%
23% 6%
31%
20%
8%
11%
44%
56%
47%
Widowed
8%
15% 6%
28%
20%
6%
7%
29%
39%
38%
1 .Separated
15%
9% 16%
19%
14%
3%
13%
33%
17%
25%
iDivorced
15%
14% 7%
18%
21%
5%
7%
35%
48%
43%
^Never Married
18%
14% 5%
24%
19%
6%
12%
47%
40%
42%
■HOW TO READ THIS TABLE: Among all Hispanic respondents in the combined sample, 16% reported attending at least one
|live musical stage play during the 12 months prior to being interviewed.
ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 1(b)
Literature Participation Rates
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AGE
18 to 29
70%
14%
29%
65%
13%
11%
91%
30 to 39
76%
5%
30%
60%
16%
13%
79%
40 to 59
75%
6%
30%
66%
19%
16%
68%
Over 60
69%
6%
29%
63%
14%
11%
52%
GENDER
Male
70%
7%
23%
57%
15%
13%
76%
Female
75%
8%
35%
70%
15%
12%
71% !
RACE
White
74%
8%
29%
66%
13%
13%
76%
Black
72%
8%
32%
58%
22%
13%
63%
Hispanic
64%
10%
25%
55%
21%
13%
72%
Other
63%
6%
28%
58%
22%
12%
64%
EDUCATION
High School or Lower
63%
6%
20%
52%
12%
8%
63%
Some College
74%
8%
34%
66%
14%
12%
76%
Bachelor's Degree or Higher
84%
9%
36%
76%
20%
18%
82%
INCOME
Less than $20,000
65%
9%
28%
54%
18%
8%
58% !
$20,000-$49,999
75%
7%
29%
68%
13%
12%
77%
$50,000-599,999
83%
7%
29%
72%
15%
15%
83%
$100,000 or More
88%
9%
28%
74%
18%
19%
90%
MARITAL STATUS
Married
75%
5%
28%
66%
15%
15%
73%
Widowed
65%
5%
31%
59%
16%
9%
45%
Separated
67%
5%
18%
59%
22%
7%
50%
Divorced
71%
7%
35%
57%
14%
11%
69%
Never Married
72%
16%
30%
64%
16%
11%
85%
HOW TO READ THIS TABLE: Among all respondents in the combined sample who reported annual
incomes over $100,000, 90% reported attending the cinema at least once during the 12 months prior
to being interviewed.
I
ARTS PARTICIPATION RATES FOR DEMOGRAPHIC SUB-GROUPS
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 1(c)
Television/Video
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Comparisons
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.GE
to 29
to 39
10 to 59
•er60
33%
37%
39%
34%
28%
34%
52%
59%
12%
16%
28%
34%
21%
24%
31%
38%
15%
21%
35%
36%
29%
29%
37%
47%
41%
55% 49% 14% 14%
42%
58%
46%
52%
44%
54%
70%
16%
36%
41% 70% 44% 30% ! 18%
67%
19% i 5%
63%
29% 11%
62%
57%
67%
69%
81%
80%
72%
75%
80%
80%
WDER
<de
xmale
40%
32%
43%
44%
21%
25%
27%
30%
26%
28%
30%
41%
44%
55% 63% 27% 20% 10%
42%
48% 60% 29% 26% I 11
64% 75%
60% 75% 76%
78%
I
CE
ute
31%
46%
23%
31%
29%
35%
45%
64%
30%
27% ! 10%
65%
75%
77%
31ack
55%
38%
19%
20%
43%
35%
ispanic
ier
VCAI
43%
29%
18%
29%
20%
38%
38%
47%
48%
38%
25%
30%
32%
45%
VCATION
71%
48%
19%
12%
55%
76%
81%
51%
55%
13%
19% 12%
52%
77%
69%
54%
63%
37%
13% ! 15%
48%
78%
74%
iigh School or Lower
I
me College
33%
37%
36%
41%
20%
24%
23%
33%
20%
30%
31%
40%
35%
42%
45%
55%
49%
62%
24%
31%
16% I 9%
47%
25% 111%
62%
67%
77%
66%
80%
chelor's Degree or Higher
39%
55%
26%
31%
34%
38%
50%
\COME
60%
75%
31%
31% I 11%
80%
83%
87%
.ess than $20,000
I
),000-$49,999
),000-$99,999
100,000 or More
37%
36%
39%
35%
42%
42%
48%
46%
24%
22%
23%
24%
25%
28%
30%
26%
21%
25%
35%
30%
35%
36%
34%
30%
39%
51%
43%
50%
44%
61%
53%
59%
58%
58%
68%
73%
32%
24%
28%
28%
15% I 12%
42%
24%
27%
33%
9%
65%
10%
79%
86%
74%
74%
79%
81%
73%
75%
85%
85%
MARITAL STATUS
1
.nied
dowed
Separated
i
jvorced
^er Married
34%
45%
35%
39%
37%
44%
64%
38%
47%
36%
22%
45%
22%
25%
17%
29%
38%
26%
32%
24%
29%
36%
10%
33%
22%
36%
52%
30%
45%
27%
43%
44%
38%
44%
48%
42%
48%
53%
53%
59%
63%
69%
50%
62%
56%
28%
50%
24%
28%
22%
26%
28%
20%
9%
64%
12%
50%
18%
52%
21% ; 10%
54%
17% i 12%
66%
75%
86%
66%
76%
73%
78%
76%
71%
77%
76%
TOW TO READ THIS TABLE:
^j respondents whose education
80% of all respondents with a Bachelor's degree reported attending at least one live performance, compared to 47% of
did not advance past a High School degree.
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DISCIPLINE
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Table 3(b)
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9%
39%
61%
n%
9%
30%
12%
Civic Center
5%
6%
5%
5%
4%
10%
5%
Theatre
16%
17%
26%
59%
59%
43%
28%
College Facility
7%
12%
3%
3%
9%
7%
12%
Performing Arts Facilities 37% 74% 95% 78% 81% 90% 57%
Coffee House
1%
0%
0%
0%
0%
0%
0% !
Dinner Theatre
7%
2%
2%
13%
9%
2%
3%
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25%
0%
0%
1%
1%
1%
3%
Clubs/Dinner Theatre 33% 2% 2% 14% 10% 3% 6%
Church or Synagogue
2%
10%
0%
1%
2%
0%
3%
Secondary School Facility
2%
3%
0%
2%
2%
3%
10%
Museum or Arts Gallery
1%
0%
0%
0%
0%
0%
1%
Library
0%
1%
0%
1%
0%
0%
1%
Park or Open-Air Facility
20%
6%
2%
2%
2%
1%
12% i
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0%
0%
0%
0%
0%
0%
1%
YMCA, YWCA, YMHA, YWHA
0%
0%
0%
0%
0%
0%
1%
Alternative Venues 25% 20% 3% 6% 7% 5% 28%
Other
5%
4%
0%
1%
1%
2%
8%
Don't Know
0%
0%
0%
1%
2%
1%
0% i
Refused
0%
0%
0%
0%
0%
0%
0%
TOTAL 100% 100% 100% 100% 100% 100% 100%
HOW TO READ THIS TABLE: One quarter of all jazz attenders in the combined sample
reported seeing their most recent jazz performance at a 'Nightclub/Jazz Club'.
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PRIMARY REASON FOR NOT ATTENDING MORE OFTEN
FOR DEMOGRAPHIC SUB-GROUPS
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 4(c)
35
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AGE
18 to 29
1251
1306
1479
778
49%
19%
8%
13%
11%
30 to 39
50%
26%
13%
8%
5%
40 to 59
50%
24%
7%
11%
7%
60 and Over
21%
26%
25%
25%
3%
GENDER
Male
2030
3010
57%
18%
7%
12%
7%
Female
35%
26%
16%
16%
7%
RACE
White
3729
582
275
336
44%
24%
12%
14%
6%
Black
46%
21%
9%
17%
8% i
Hispanic
43%
21%
13%
10%
14%
Other
51%
17%
15%
8%
8% i
EDUCATION
High School or Lower
1730
1472
1737
45%
20%
10%
19%
6%
Some College
45%
24%
13%
12%
5%
Bachelor's Degree or Higher
43%
25%
13%
11%
9%
INCOME
Less than $20,000
978
1940
941
266
31%
32%
15%
17%
5%
$20,000-$49,999
47%
23%
10%
14%
6%
$50,000-$99,999
52%
18%
9%
10%
10%
$100,000 or More
63%
6%
7%
15%
8%
MARITAL STATUS
Married
2727
301
140
574
1203
44%
24%
15%
12%
6%
Widowed
23%
29%
15%
28%
6%
Separated
40%
40%
5%
12%
3%
Divorced
49%
19%
10%
15%
7%
Never Married
47%
20%
8%
15%
10%
HOW TO READ THIS TABLE: Among all respondents aged 18-29, 19%
as the primary reason for not attending more often, compared to 26% for all
over age 59.
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SAMPLE DEMOGRAPHICS BY SITE
12 Local Surveys of Public Participation in the Arts
(Unweighted Sample Data)
Table 7(a)
Raw Data
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HOUSEHOLD SIZE
Mean # of Adults (18+)
2.32
2.32
2.24
2.13
2.07
2.17
2.16
2.42
2.44
2.32
2.5
2.48
2.31
AGE
18 to 29
22%
25%
27%
23%
5%
24%
30%
31%
34%
25%
29%
33%
26%
27%
31%
16%
38
30 to 39
31%
30%
29%
30%
14%
26%
28%
27%
29%
26%
28%
26%
40 to 59
29%
30%
31%
35%
37%
34%
32%
29%
24%
31%
28%
32%
60 and Over
19%
15%
13%
12%
44%
16%
10%
13%
13%
19%
15%
9%
Median Age
39
37
38
39
56
40
36
36
35
39
37
36
GENDER
Male
36%
42%
43%
44%
31%
37%
40%
43%
40%
39%
42%
45%
40%
60%
Female
64%
58%
57%
56%
69%
63%
60%
57%
60%
61%
58%
55%
RACE
White
88%
79%
89%
89%
95%
79%
84%
75%
55%
78%
38%
71%
76%
12%
6%
7%
Black
9%
10%
2%
0%
1%
18%
5%
15%
40%
11%
16%
3%
Hispanic
0%
5%
4%
4%
1%
1%
3%
4%
2%
6%
26%
14%
Other
4%
7%
6%
6%
4%
2%
8%
6%
4%
5%
21%
12%
EDUCATION
High School or Lower
42%
40%
36%
45%
21%
38%
26%
34%
40%
30%
39%
26%
35%
30%
35%
Some College
25%
31%
34%
35%
32%
26%
27%
27%
28%
32%
29%
33%
Bachelor's Degree or Higher
33%
30%
30%
20%
47%
35%
46%
39%
31%
39%
32%
42%
INCOME
Less than $20,000
35%
21%
23%
21%
24%
20%
18%
23%
30%
17%
33%
15%
24%
47%
23%
6%
$20,000-549,999
42%
50%
51%
51%
52%
49%
46%
43%
48%
53%
44%
38%
$50,000-$99,999
19%
21%
21%
25%
17%
27%
27%
25%
19%
23%
17%
36%
$100,000 or More
5%
9%
5%
3%
7%
4%
9%
10%
3%
6%
7%
12%
MARITAL STATUS
Married
52%
53%
52%
65%
68%
65%
57%
54%
42%
57%
51%
54%
55%
6%
3%
12%
24%
Widowed
9%
5%
7%
6%
9%
3%
5%
5%
8%
7%
7%
2%
Separated
2%
3%
3%
2%
2%
4%
1%
2%
5%
3%
2%
3%
Divorced
9%
16%
15%
16%
10%
8%
11%
12%
11%
12%
10%
11%
Never Married
27%
23%
23%
12%
12%
20%
26%
27%
35%
21%
30%
30%
HOW TO READ THIS TABLE:
NOTE: This table shows UNWE
Sedona
(GHTED
responde
, "raw" d
nts have
ata. Min
the highe
ority pop
st medial
illations \
l age (56
vere inte
)ofthel
rationally
2 sites. (
oversam
)nly 5%
pled in sc
fall into t
>me sites.
he '18 to
29' age g
roup.
1
SAMPLE DEMOGRAPHICS BY SITE
12 Local Surveys of Public Participation in the Arts
(Weighted Sample Data)
1
Table 7(b)
Weighted
Data
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^HOUSEHOLD SIZE
Mean* of Adults (18+)
3.15
4.02
3.45
2.68
5.57
2.85
4.48
4.02
5.71
5.27
5.36
5.68
4.69
AGE
§18 to 29
21%
22%
25%
22%
31%
24%
25%
26%
24%
18%
19%
28%
24%
22%
31%
23%
43
1
30 to 39
24%
27%
24%
24%
28%
22%
23%
21%
23%
16%
21%
24%
40 to 59
26%
30%
30%
32%
28%
32%
31%
33%
28%
29%
34%
32%
■
60 and Over
29%
21%
21%
22%
14%
23%
21%
21%
25%
36%
26%
16%
I Median Age
44
41
41
43
37
42
40
43
43
52
45
40
GENDER
Male
46%
50%
50%
53%
46%
46%
49%
47%
46%
47%
46%
49%
47%
53%
Female
54%
50%
50%
47%
54%
54%
51%
53%
54%
53%
54%
51%
|ft.4CE
I
White
86%
78%
84%
82%
91%
77%
87%
72%
79%
87%
47%
67%
75%
13%
5%
7%
Black
9%
7%
2%
1%
2%
20%
4%
15%
16%
8%
17%
4%
1
Hispanic
1%
7%
7%
10%
3%
0%
1%
5%
1%
2%
17%
18%
■Other
3%
8%
7%
8%
4%
3%
9%
8%
3%
3%
19%
12%
EDUCATION
High School or Lower
47%
44%
42%
47%
37%
46%
32%
40%
39%
31%
40%
27%
39%
28%
34%
|Some College
25%
29%
31%
34%
28%
25%
28%
27%
27%
31%
30%
30%
Bachelor's Degree or Higher
28%
27%
27%
19%
35%
28%
41%
33%
35%
38%
30%
43%
INCOME
Less than $20,000
37%
30%
32%
34%
36%
30%
26%
31%
29%
28%
37%
14%
30%
44%
21%
6%
|$20,000-$49,999
43%
52%
50%
49%
46%
47%
47%
41%
46%
48%
42%
35%
1
$50,000-599,999
17%
15%
14%
15%
13%
20%
21%
22%
20%
20%
16%
37%
$100,000 or More
3%
4%
3%
2%
4%
3%
6%
6%
5%
4%
5%
14%
MARITAL STATUS
Married
56%
55%
53%
63%
56%
66%
58%
54%
52%
64%
56%
59%
55%
8%
3%
10%
25%
Widowed
10%
6%
9%
7%
2%
4%
7%
7%
9%
9%
9%
2%
Separated
2%
2%
3%
2%
1%
3%
1%
2%
5%
2%
2%
3%
iDivorced
7%
14%
13%
16%
12%
6%
10%
12%
8%
10%
9%
11%
|Never Married
26%
24%
22%
L 11%
30%
21%
24%
25%
27%
15%
24%
26%
1
HOW TO READ THIS TABLE: San Jose respondents reported the highest education levels among the 12 sites. A total of 43% earned a Bachelor's
degree or higher.
n
EDUCATION LEVELS: SAMPLE DATA VS. 1990 CENSUS
12 Local Surveys of Public Participation in the Arts
National Endowment for the Arts
Table 8
Highest Education Level Achieved
High School
or lower
Some
College
Bachelor's
Degree or
higher
Pittsburgh Area, PA
Unweighted Sample Data (A)
42%
24%
33%
1990 Census Data (B)
57%
21%
23%
Variance (A - B)
-15%
3%
70%
Las Vegas, NV
Unweighted Sample Data (A)
44%
29%
26%
1990 Census Data (B)
55%
31%
14%
Variance (A - B)
-11%
-2%
72%
Reno,NV
Unweighted Sample Data (A)
35%
33%
30%
1990 Census Data (B)
46%
34%
20%
Variance (A - B)
-11%
-7%
70%
Rural Nevada ZIPs
Unweighted Sample Data (A)
44%
35%
21%
1990 Census Data (B)
52%
33%
15%
Variance (A - B)
-8%
2%
6%
Sedona, AZ
Unweighted Sample Data (A)
20%
31%
45%
1990 Census Data (B)
43%
32%
25%
Variance (A - B)
-23%
-7%
20%
Winston-Salem, NC
Unweighted Sample Data (A)
38%
26%
35%
1990 Census Data (B)
51%
24%
24%
Variance (A - B)
-13%
2%
77%
Seattle/King County, WA
Unweighted Sample Data (A)
25%
27%
46%
1990 Census Data (B)
35%
33%
33%
Variance (A - B)
-10%
-6%
73%
Chicago Area, IL
Unweighted Sample Data (A)
33%
27%
38%
1990 Census Data (B)
50%
26%
25%
Variance (A - B)
-17%
7%
73%
Philadelphia MSA
Unweighted Sample Data (A)
41%
28%
31%
1990 Census Data (B)
57%
20%
23%
Variance (A - B)
-76%
8%
8%
Broward County, FL
Unweighted Sample Data (A)
29%
31%
37%
1990 Census Data (B)
55%
26%
19%
Variance (A - B)
-26%
5%
18%
Dade County, FL
Unweighted Sample Data (A)
37%
29%
31%
1990 Census Data (B)
58%
23%
19%
Variance (A - B)
-21%
6%
72%
Santa Clara County, CA
Unweighted Sample Data (A)
25%
32%
40%
1990 Census Data (B)
37%
31%
33%
Variance [A - BJ
-72%
7%
7%
ALL SITES COMBINED
Unweighted Sample Data
35%
30%
35%
Weighted Sample Data
38%
28%
34%
1990 Census Data (12 Sites Combined)
51%
25%
24%
Variance from Unweighted Sample Data
-16%
5%
11%
Variance from Weighted Sample Data
-13%
3%
10%
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FREQUENCY OF PARTICIPATION
BY DEMOGRAPHIC CHARACTERISTICS
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 9(a)
Highest Number of Times Attended Any of 8 Core Disciplines
0 Times
1 Time
2 or 3
Times
4 or 5
Times
6+ Times
Total
Sample
AGE
18 to 29
21%
31%
24%
29%
19%
24%
22%
31%
23%
30 to 39
22%
24%
25%
17%
18%
40 to 59
31%
28%
31%
31%
35%
60 and Over
27%
16%
21%
24%
29%
GENDER
Male
44%
49%
47%
44%
56%
47%
53%
Female
56%
51%
53%
56%
44%
RACE
White
68%
78%
80%
71%
83%
75%
13%
5%
7%
Black
15%
10%
13%
11%
10%
Hispanic
7%
7%
3%
7%
3%
Other
10%
5%
5%
11%
5%
EDUCATION
High School or Lower
54%
40%
29%
18%
20%
39%
28%
34%
Some College
. 28%
31%
28%
27%
20%
Bachelor's Degree or Higher
18%
30%
43%
55%
60%
INCOME
Less than $20,000
46%
22%
21%
15%
19%
30%
44%
21%
6%
$20,000-$49,999
41%
50%
45%
42%
40%
$50,000-$99,999
12%
24%
26%
29%
31%
$100,000 or More
2%
4%
7%
14%
11%
MARITAL STATUS
Married
53%
52%
59%
58%
60%
55%
8%
3%
10%
25%
Widowed
10%
6%
6%
5%
6%
Separated
3%
4%
2%
1%
2%
Divorced
12%
9%
10%
7%
9%
Never Married
22%
30%
24%
29%
23%
NOTE: Respondents were categorized into six mutually exclusive groups based on the highest number of
times which they attended any of the 8 "core" disciplines.
HOW TO READ THIS TABLE: Respondents whose highest frequency of attendance was 4 or 5 times were
more likely to have incomes over $100,000, compared to respondents in other frequency categories.
NUMBER OF DISCIPLINES ATTENDED
BY DEMOGRAPHIC CHARACTERISTICS
12 Local Surveys of Public Participation in the Arts
(Weighted Percentages for 12 Sites Combined)
Table 10
Number of 8 Core Disciplines Attended...
None
1
Discipline
2 or 3
Disciplines
4 or 5
Disciplines
6 to 8
Disciplines
Total
Sample
AGE
18 to 29
21%
29%
27%
22%
9%
24%
22%
31%
23%
30 to 39
22%
26%
21%
19%
11%
40 to 59
31%
25%
32%
36%
49%
60 and Over
27%
21%
21%
23%
31%
GENDER
Male
45%
51%
49%
42%
43%
47%
53% i
Female
56%
49%
51%
58%
57%
RACE
White
68%
75%
78%
86%
88%
75%
13%
5% !
7%
Black
15%
13%
12%
9%
6%
Hispanic
7%
6%
4%
3%
2%
Other
10%
6%
7%
3%
5%
EDUCATION
High School or Lower
54%
41%
27%
14%
7%
39%
28%
34%
Some College
28%
32%
27%
21%
24%
Bachelor's Degree or Higher
18%
28%
46%
65%
69%
INCOME
Less than $20,000
46%
20%
23%
13%
20%
30%
44%
21%
6%
$20,000-$49,999
41%
54%
44%
35%
26%
$50,000-$99,999
12%
22%
27%
37%
38%
$100,000 or More
2%
5%
7%
16%
16%
MARITAL STATUS
Married
53%
56%
53%
65%
73%
55%
8%
3%
10%
25%
Widowed
10%
6%
6%
6%
6%
Separated
3%
1%
4%
2%
2%
Divorced
12%
9%
9%
7%
8%
Never Married
22%
28%
29%
21%
12%
HOW TO READ THIS TABLE: Of those respondents who attended none of the 8 core disciplines, 46%
reported incomes less than $20,000, compared to 30% for the total sample.
12 Local Surveys of Arts Participation
Summary Report
B. Sampling Error
Any value derived from the use of sampling methodologies reflects the "true but unknown"
values which occur in the data. For example, simply because the mean age for survey
respondents in a given area is 46, this number is not absolute. There is variability
surrounding this "point estimate" - since it was derived through sampling techniques and not
through a census of the entire area. Therefore, a standard error must be calculated to define
the area surrounding the point estimate in which the actual "true but unknown" value lies.
Two different types of error rates apply to different analyses of the data.
1. Single-Site Error Rates
Comparison of rates within a site (for example, jazz participation rates for Dade County by
race) requires that standard error rates be calculated based on the unweighted sample size for
that site (usually about 400, but 600 for Philadelphia). For a sample size of 400, at the 95%
confidence level, error rates will range from about 2% to 5%, depending on the survey
percentage in question.
For example, the jazz participation rate in Dade County for "White (not
Hispanic)" is 22%, while the same rate for "Black/African American" is 9%.
Are these rates significantly different? Consult the table below entitled
"Margin of Error for Single-Site Percentages. " For a sample size of 400
and a survey percentage of 22%, the error rate is 3.92%. Therefore, we are
95% confident that the actual rate is 22% +/- 3.92%; or from 18.1% to
25.9%. Similarly, the applicable error rate for a survey percentage of 9%
with a sample size of 400 is 2.94%. Since the two ranges do not overlap, we
can conclude that jazz participation rates for Whites and African-Americans
in Dade County are significantly different at the 95% confidence level.
Confidence limits from this table should be used to evaluate the statistical significance of
survey percentages within a site.
Margin of Error for Single- Site Percentages
(95% Confidence Level)
Sample Size
400 600*
Survey Percentage
5%/95%
2.14%
1.71%
10%/90%
2.94%
2.40%
15%/ 85%
3.50%
2.86%
20%/80%
3.92%
3.20%
25%/75%
4.24%
3.46%
30%/70%
4.49%
3.67%
35%/65%
4.67%
3.87%
40%/60%
4.80%
3.92%
45%/55%
4.88%
3.98%
50%/50%
4.90%
4.00%
"Phildelphia site only
-93
12 Local Surveys of Arts Participation Summary Report
2. Multiple-Site Error Rates
Different standard error rates apply when evaluating the statistical significance of survey
percentages across multiple sites. For instance, to see if classical music participation rates
are different between Las Vegas and Reno (and other sites), confidence limits must be
calculated based on the entire sample size for all 12 sites for the variable in question. Unlike
the "Single-Site" error rates discussed above, these rates will allow us to determine whether
survey percentages between sites are significantly different.
For each of the common variables on all 12 surveys, a standard error was calculated on the
total number of respondents answering each question, at the 95% confidence level. A
Standard Error Table may be found at the end of this section. Standard error figures for the
various participation rates ranged from .67% to 1.38%. The correct application of these
standard error calculations is illustrated in the following example:
The classical music participation rate for the Las Vegas, NV area is 8.91%,
while the classical music participation rate for the Reno, NV area is 18.24%
(weighted percentages). From the table below, the standard error figure for
classical music participation is 1.08%. Therefore, for Las Vegas, we are
95% confident that the actual participation rate falls within a range of
1.08% above or below the sampled rate of 8.91%. The same standard error
figure is applied to the Reno data, resulting in the following confidence
limits:
Site Confidence Limits Confidence Level
Las Vegas 7.83% to 9.99%. 95%
Reno 17.16% to 19.32% 95%
Since there is no overlap between the confidence limits, we can conclude
that the difference between classical music participation in Las Vegas and
Reno is statistically significant at the 95% confidence level. If the exact
sample sampling procedures were repeated for the same areas, you would
expect a statistically significant difference to occur 95 times out of 100 times
in which the study is duplicated.
Statistically significant differences, on the 95% confidence level, occurred between locations
for all of the core participation rates (both live performance and media).
94
12 Local Surveys of Arts Participation
Summary Report
12 Local Surveys of Public Participation in the Arts
STANDARD ERROR TABLES
For M u 1 1 i p 1 e - S i t e Comparisons
VARIABLE
NAME
PARTICIPATION RATES
STANDARD
VARIABLE DESCRIPTION
ERROR
JAZZ
Jazz participation
1.03%*
CLASSIC
Classical music participation
1.08%*
OPERA
Opera participation
0.67%*
MUSICAL
Musical stage participation
1.21%*
PLAY
Non-musical stage participation
1.13%*
BALLET
Ballet participation
0.79%*
ODANCE
Other Dance participation
0.88%*
MUSEUM
Visited a museum or art gallery
1.38%*
FAIR
Attended an art fair or festival
1.38%*
PARK
Visited a historic park or monument
1.38%*
BOOKS
Read books
1.18%*
READPLAY
Read plays
0.75%*
READPOET
Read poetry
1.30%*
READNOV
Read novels
1.29%*
HEARPOET
Listen to poetry
1.02%*
HEARNOV
Listen to novels or books
0.95%*
TVJAZZ
Watched jazz on TV/VCR
1.33%*
TVCLASS
Watched classical music on TV/VCR
1.38%*
TVOPERA
Watched operas on TV/VCR
1.12%*
TVMUS
Watched musicals on TV/VCR
1.23%*
TVPLAY
Watched stage play on TV/VCR
1.22%*
TVDANCE
Watched dance on TV/VCR
1.33%*
TV ART
Watched visual arts program on TV7VCR
1.38%*
LISJAZZ
Listen to jazz on radio/recordings
1.38%*
LISCLASS
Listen to classical music on radio/recordings
1.38%*
LISOPERA
Listen to opera on radio/recordings
1.17%*
LISMUS
Listen to musicals on radio/recordings
1.13%*
MISPLAY
Listen to stage plays on radio/recordings
0.79%*
CINEMA
Attend movie theaters to see films
1.19%*
"Significant differences, on the 95% confidence level, occurred between locations.
95
12 Local Surveys of Arts Participation
Summary Report
VARIABLE
NAME
FREQUENCY OF PARTICIPATION
VARIABLE DESCRIPTION
STANDARD
ERROR
GOMORE
Like to attend arts events more often
1.24%*
NJAZZ
Number of times attended jazz
3.40%
NCLASSIC
Number of times attended classical music
3.20%
NOPERA
Number of times attended opera
5.50%
NMUSICAL
Number of times attended musicals
2.71%*
NPLAY
Number of times attended stage plays
3.01%*
NBALLET
Number of times attended ballet
4.58%
NODANCE
Number of times attended other dance types
4.09%*
NMUSEUM
Number of times attended museum/gallery
2.04%*
NFAIR
Number of times attended art fair or festival
1.88%*
NPARK
Number of times attended historic park/monument
2.03%*
NBOOKS
Number of books read
1.65%*
NTVJAZZ
Number of times watched jazz on TV/VCR
2.40%
NTVCLASS
Number of times watched classical music on TV/VCR
2.26%*
NTVOPERA
Number of times watched opera on TV/VCR
3.10%
NTVMUS
Number of times watched musicals on TV/VCR
2.75%
NTVPLAY
Number of times watched stage plays on TV/VCR
2.79%*
NTVDANCE
Number of times watched dance on TV/VCR
2.37%
NTVART
Number of times watched visual arts program on TV/VCR
2.18%* \
Y Significant differences, on the 95% confidence level, occurred between locations.
VARIABLE
NAME
VENUE TYPES ATTENDED
STANDARD
VARIABLE DESCRIPTION
ERROR
WJAZZ
Jazz venues
3.38%*
WCLASSIC
Classical music venues
3.17%*
WOPERA
Opera venues
5.57%*
WMUSICAL
Musical venues
2.70%*
WPLAY
Stage play venues
3.00%*
WBALLET
Ballet venues
4.57%*
WODANCE
Other dance venues
4.08%*
"Significant differences, on the 95% confidence level, occurred between locations.
96-
12 Local Surveys of Arts Participation
Summary Report
VARIABLE
NAME
DEMOGRAPHICS
VARIABLE DESCRIPTION
STANDARD
ERROR
HHSIZE
Number in household
1.39%* |
OVER 18
Number of adults 18 or older in household
1.52%*
AGE
Age of respondent
1.41%*
EDUC
Highest education level completed
1.38%*
RACE
Race or heritage
1.38%*
INCOME
Household income
1.38%* !
''Significant differences, on the 95% confidence level, occurred between locations.
VARIABLE
NAME
OTHER VARIABLE DESCRIPTIONS
STANDARD
ERROR
MORE1
Want to attend more.... (first answer)
1.38%*
MOREMOST
Want to attend more often the most
1.54%*
BAR1
Reason for not attending (first answer)
1.63%*
MOSTIMP
Most important reason for not attending
1.88%*
HOWIMP
How important is it to attend arts events
1.38%*
SCHOOLS
How important is art in schools
1.38%*
TVTYPE
Cable TV, Network TV or both
2.64%* |
RATEINFO
Adequacy of information
1.38%*
♦Significant differences, on the 95% confidence level, occurred between locations.
NOTE: The standard error is calculated on the number of respondents answering each
question and is the maximum standard error for each question.
-97
12 Local Surveys of Arts Participation Summary Report
C. Methodological Comparisons Between Local and National Surveys
Methodological differences between the 12 Local Surveys and the 1982, 1985 and 1992
National SPPA's were summarized in the Methodology section of this report. These issues
are central to understanding the variation in participation rates between surveys, and are
discussed in greater detail here.
1. Sponsorship/Survey Context
The 12 Local Surveys and the National SPPA's were presented to the eligible
respondents in a significantly different manner, which may have affected the
respondents' perception of the two studies and, therefore, the completion rates and
quality of answers. The National SPPA's immediately followed surveys on crime, an
issue that affects everyone to some degree. This may have served as an incentive to
participate in the survey, attracting a very heterogeneous group representative of the
general public. On the other hand, the 12 Local Surveys were introduced by the
interviewers as follows:
"Hello, this is (NAME) calling for (LOCAL SPONSOR) about a
study of local participation in the Arts. This study is being co-
sponsored by the National Endowment for the Arts. "
Respondents were immediately able to contextualize the survey in terms of their own
interests, and make a decision to proceed or hang up. Recent publicity surrounding
the NEA's funding of controversial art may also have had some bearing, positive or
negative, on response rates.
2. Random Digit Dialing Telephone Survey Methodology
Approximately 75% of the interviews for the '82 and '85 national SPPA's were
conducted in person in the respondent's home, whereas all of the 12 Local SPPA
households were sampled by telephone using a random digit dialing approach. (The
1992 SPPA was conducted by telephone, unlike the earlier SPPA's, although other
aspects of the methodology remained constant.) Four concerns arise from these
differences in sampling methodologies:
A. Very simply, telephone interviews can be (and frequently are) terminated by
the respondent at any time for any reason. Response rates for the 12 Local
Surveys ranged from 40% to 52%, indicating that up to 1,000 households
were contacted in some markets to achieve 400 completed interviews.
(These response rates are not unusual for telephone surveys of this type.)
Respondents with an interest in the survey subject matter are more likely to
complete the interview, a source of upward bias in the final data set.
Respondents who were interviewed in person (in their own homes) for the
'82 and '85 SPPA's found it more difficult to terminate the interview,
regardless of their interest or disinterest in the arts.
B. Households without telephones were excluded from the Local samples. It is
assumed that households without telephones generally exhibit different
demographic characteristics (i.e. lower income, education, etc.) than
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12 Local Surveys of Arts Participation Summary Report
households with telephones, and consequently are less likely to be arts
participators. This potential source of bias arising from non-response was
addressed by Abt Associates in their post-stratification weighting procedure.
C. The great increase in telemarketing and telephone solicitations of all kinds
has created a negative context for bonafide telephone survey research. For
example, telemarketers sometimes introduce themselves as researchers, and
what begins as a survey turns into a sales pitch. Generally, this increases the
amount of resistance to telephone survey participation, except among those
with an interest in the subject matter. Bias resulting from resentment or
mistrust of interviewers cannot be measured, but nevertheless is a reality of
telephone research.
3. Respondent Eligibility
Another primary difference between the 12 Local Surveys and the National studies is
respondent eligibility. For the National SPPA's, all adults (18+) in the sampled
households were eligible respondents, and less than 15% to 20% of eligible
respondents were not interviewed. For the 12 Local Surveys, only the one adult
(18+) in the household with the most recent birthday was the eligible respondent.
Although the procedure of selecting the person with the most recent birthday assures
a random selection of adults within the sampled households, this procedure also
creates a convenient excuse for uninterested but eligible respondents to terminate the
call. If the desired respondent was not available at the time of the initial call, an
attempt was made to schedule a return call. However, "Respondent Never
Available" was included on the telephone interview script as a reason to terminate
the call after callback procedures were exhausted.
In contrast to the National SPPA's, this procedure creates a barrier to reaching the
eligible respondent, providing an opportunity for disinterested individuals to self-
select themselves out of the sample. Conversely, this also provides an opportunity
for those with an interest in the arts to stick with the interview protocol.
4. Out-of-Town Arts Participation
None of the arts participation surveys, either local or national, asked respondents to
distinguish between local and out-of-town arts participation. With the national
surveys, this distinction was unnecessary, because the results were generalized to the
U.S. population. However, the issue of out-of-town arts participation becomes
relevant given the geographical definitions of the 12 local sites. Several issues arise,
particularly in light of the effort to reconcile the supply of local arts activity with
sampled arts participation rates.
First, the sampled geographies (12 local sites) may be close to other cities with arts
activity. For example, Sedona, AZ residents commonly drive to Flagstaff for arts
presentations sponsored by Northern Arizona University. Therefore, arts
participation rates for Sedona respondents do not relate exclusively to the supply of
arts activity in Sedona. Presumably, local participation rates would be lower if out-
of-town attendance was discounted. Conversely, in areas where tourism is a major
factor, local arts participation rates explain only a fraction of arts activity (e.g., Las
Vegas, NV).
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12 Local Surveys of Arts Participation Summary Report
Secondly, several of the sampled areas (i.e., Broward and Dade Counties) have
significant populations of seasonal residents, who also may attend arts events in
another area. The 12 Local Surveys were conducted during the winter months when
seasonal residents tend to be in Florida. Survey results show that 10% of Broward
County respondents identified themselves as "snowbirds," versus 6% for Dade
County. These respondents, who maintain two residences and fall into higher age
brackets, are more likely to report higher attendance levels.
Out of town arts participation is not a source of methodological bias, since the issue
was treated consistently between the 12 local surveys. However, it may explain
some of the variation in participation rates between sites.
5. Termination Due to Language Barrier
For the 12 Local Surveys, an unknown number of calls were terminated immediately
due to a language barrier [figures not released by Abt Associates], although some
interviews were conducted in Spanish for the Dade, Broward, and San Jose sites.
Participation rates in the traditional arts disciplines are generally lower among non-
English speaking immigrant groups, for cultural and socioeconomic reasons -
another possible source of upward bias. Little mention is made in the 1982 and 1985
SPPA reports about language barriers, except that interpreters were made available,
if necessary.1
6. Sampling Periods vs. Seasonality of Arts Activity
The National SPPA's were conducted over longer periods of time than the 12 Local
Surveys. The 1982 and 1992 SPPA's were conducted over a calendar year, with an
even distribution of interviews each month, while the 1985 SPPA involved data
collection only during the first six months of 1985 (January - June), which includes
months of both high and low arts activity. (Arts programming drops off sharply
during the summer months, particularly with respect to traditional programming.)
The 12 Local Surveys were conducted during one of the most active 3-month periods
for arts programming, mid-February through mid-May.
Recent attendance may be more easily recalled by respondents, raising the possibility
of higher participation rates for respondents interviewed during the performing arts
season.
7. Weighting
The weighting procedures performed on the raw data by Abt Associates had a
significant impact on participation rates. Consistently, weighted participation rates
are lower than unweighted participation rates, typically by several percentage points,
but occasionally by large numbers. The following data for Sedona, AZ illustrates an
extreme example of the effect of weighting:
Purvey of Public Participation in the Arts: Volume I. Project Report. John P. Robinson and others, March
1987, page 25.
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12 Local Surveys of Arts Participation Summary Report
Classical Music Participation - Sedona, AZ
Unweighted Sample (raw data) 27.9%
Weighted Percentage 16.7%
Variance 11.2%
Sample data was first weighted for the number of adults in the sampled household.
This procedure alone would tend to exaggerate the bias resulting from other sources.
The second weighting procedure adjusted the data to bring the sample distribution
into closer agreement with the actual distribution of age, race, gender, and household
income for each site, to correct for potential bias arising from non-response, and to
adjust the sample for non-coverage of households without telephones.
Bias resulting from a number of sources led to samples with substantially different
demographics (i.e., race, income, education levels) than the actual figures for the
sampled geographies. Given these large discrepancies, it appears that the post-
stratification weighting procedure resulted in some large downward adjustments to
the original data. Despite this, weighted participation rates are still much higher than
comparable rates from the '82 and '85 SPPA's. Unweighted participation rates for the
12 Local Surveys, although not used for this analysis, differ even more with the '82
and '85 SPPA figures.
D. Survey Design Comparisons: 12 Local Surveys vs. National SPPA's
The 12 Local Surveys differ significantly from the 1982 and 1985 National SPPA's from a
design standpoint, although the 1992 SPPA is more consistent with the Local Surveys.
Beyond the addition and deletion of whole questions, a variety of both subtle and obvious
changes were made in the wording of questions. In some cases, these changes may have
affected the comparability of data across surveys. Some of the design differences between
these surveys are discussed below.
1. Qualifications to Participation
The 12 Local Surveys and the 1992 SPPA ask respondents not to include grade
school or high school functions for all the disciplines, whereas the 1982 and 1985
SPPA's only make this request for 'musical play or operetta' and 'non-musical play'.
2. Literature Participation
Questions relating to literature participation were also treated differently. The 1982
and 1985 SPPA's included three questions about literature; one inquiring about the
reading of novels, short stories or plays, the second asking if the respondent has read
any books or magazines, and the third asking about reading or listening to poetry.
The 12 Local Surveys and the 1992 SPPA are more specific about literature
participation, asking separately about reading of plays, poetry, and novels or short
stories, in addition to asking if the respondent read any books over the past year,
excluding books required for work or school, and if so, the number of books read.
The 12 Local Surveys add separate questions about listening to readings of poetry or
novels/books, either recorded or live. These differences complicate direct
101
12 Local Surveys of Arts Participation Summary Report
comparisons of literature participation rates between the 12 Local Surveys and the
1982 and 1985 National SPPA's.
Dance (other than Ballet) was added as a new category of participation on the 12
Local Surveys and the 1992 SPPA. Comparative data is not available from the 1982
and 1985 SPPA's.
3. Arts Participation through the Media
The national SPPA's use a series of questions to query arts participation through the
media. For each of the core disciplines, respondents were asked about:
(a) TY7VCR participation
(b) If yes, TV, VCR, or Both? (1992 version only)
(b) If yes, frequency of participation (1992 version only)
(c) Radio participation
(d) Audio media (record, tape, CD) participation.
The 12 Local Surveys combine radio with other audio media and ask the questions in
a different order. Therefore, data for arts participation through audio media
(including radio) is not comparable between the 12 Local Studies and the national
SPPA's.
With respect to dance participation through the media, the 1982 and 1985 SPPA's
asked only about Ballet participation on TV, whereas the 1992 SPPA and the 12
Local Surveys combine all types of dance (i.e., "ballet, modern, folk, or tap").
Further, the 1992 SPPA (only) explicitly excludes music videos.
Media participation questions on the 1982 and 1985 SPPA's were included as a
"rotating" module, and were not asked of all respondents. Conversely, media
participation questions were asked of all respondents to the 1992 SPPA and the 1 2
Local Surveys.
Several other details: In the 1982 and 1985 SPPA's, VCRs were not specified as an
acceptable form of media participation. The SPPA question about watching
musicals/operettas on TV instructs the respondent to exclude any movie versions,
while the 12 Local Surveys do not contain this exclusion. The 1992 SPPA (only)
also instructs respondents to exclude movies, situation comedies, and TV series for
reporting TV/VCR participation for non-musical stage plays.
4. Film Participation
With respect to film participation, the National SPPA's are simple and direct:
"During the LAST 12 MONTHS did YOU go out to the movies?" (verbatim). Some
respondents, however, may have included going out to a friends house to watch a
movie (VCR), or a movie shown in a college dormitory or student union, etc. The
12 Local Surveys add an exclusion: "Do not include movies you have watched on a
VCR or at some other place other than a movie theatre."
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12 Local Surveys of Arts Participation Summary Report
5. Frequency of Attendance
Data relating to the frequency of participation in the various disciplines is non-
comparable across surveys. The 1982 and 1985 SPPA's, after asking about
participation over the past year, asked how many times the respondent had attended
in the last month. Responses were coded as follows:
1. None
2. 1 time
3. 2 or 3 times
4. 4 or 5 times
5. 6 or more times
The 1992 SPPA and the 12 Local Surveys, however, ask respondents how many
times they attended during the last 12 months, maintaining the same time frame (one
year) as for the related participation question. Responses were open-ended, rather
than categorized (any number was an acceptable answer). Thus, frequency of
attendance data from the 1982 and 1985 SPPA's is categorical and for the period of a
month, while frequency of attendance data from the 1992 SPPA and the 12 Local
Surveys is continuous and for the period of a year.
6. Types of Venues Attended
The 12 Local Surveys asked all respondents who reported any attendance in a given
discipline to identify the type of performance venue where they last attended. This
process was repeated for each discipline. In contrast, one of the "rotating" modules
of the 1982 and 1985 SPPA's asked respondents to identify all venue types utilized
over the past year, for all disciplines, in one question. The 1992 SPPA drops the
subject altogether. Thus, data on facility utilization from the 12 Local Surveys are
unique.
7. Reasons for Not Attending More Often
One of the rotating modules of the 1982 and 1985 SPPA's was devoted to "barriers
to participation". Separate questions were asked for each discipline, whereas the 12
Local Surveys only ask about barriers to arts participation in general. The 1992
SPPA drops the topic. The list of reasons for not attending more often is
comparable, with the exception of 'cost'. The 12 Local Surveys distinguish between
the cost of tickets and the overall cost of attending events, whereas the 1982 and
1985 SPPA's mention 'cost' without further specification.
In addition, several of the responses are different. 'Lack of Interest' and 'Just don't
get around to it' are included in the 12 Local Surveys, whereas Procrastination/Lack
of Motivation' is the most comparable response on the 1982 and 1985 SPPA forms.
Also, Teel Uncomfortable' is a coded response on the National but not the Local
surveys.
8. Interest in Attending More Often
Different time frames surround these questions. Whereas the 1982 and 1985 SPPA's
ask what the respondent would like to do more often than what he or she has done
-103-
12 Local Surveys of Arts Participation Summary Report
during the last 12 months, the 12 Local Surveys and the 1992 SPPA ask respondents
what types of events they would like to attend 'more often than you do now'.
This section addresses a limited number of survey design issues relevant to the 12 Local
Studies. Numerous other design issues (esp. with regard to socialization, other leisure
activities, etc.) are not treated here because they do not pertain to questions common to the
12 Local Studies.
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12 Local Surveys of Arts Participation Summary Report
E. Survey Form
As noted in the report, each of the 12 survey instruments were different. In addition to "core
questions" relating to arts participation and related topics, each survey also included other questions
of special interest to the local sponsor. These questions covered a variety of topics, including:
awareness of local arts institutions
culturally-diverse programming
participation in other leisure activities
ticket purchasing behaviors
additional probing of barriers to attendance
additional probing of local media preferences
musical preferences
perceived need for new facilities
interest in continuing education programs
other topics
Since the scope of this report is limited to data collected across all 12 sites, only the "Core
Questionnaire" is reproduced here. Local survey instruments in their complete form may be obtained
by writing the Research Office of the National Endowment for the Arts, 1 100 Pennsylvania Ave.,
N.W., Washington DC, 20506
-105-
LOCAL SURVEYS OF PARTICIPATION IN THE ARTS
Core Questionnaire
The following questions are about your activities during the last 12 months— between
1 , 1 9_, and , 1 9_.
1 . With the exception of elementary or high school performances, did you go to a live jazz
performance during the last 12 months?
YES (ASK A-B) 1
NO (GO TO Q.2) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
2. With the exception of elementary or high school performances, did you go to a live
classical music performance such as symphony, chamber, or choral music during the
last 1 2 months?
YES (ASK A-B) 1
NO (GO TO Q.3) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
3. (With the exception of elementary or high school performances,) Did you go to a live
opera during the last 12 months?
YES (ASK A-B) 1
NO (GO TO Q.4) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
4. (With the exception of elementary or high school performances,) Did you go to a live
musical stage play or an operetta during the last 12 months?
YES (ASK A-B) 1
NO (GO TO Q.5) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
5. (With the exception of elementary or high school performances,) Did you go to a live
performance of a non-musical stage play during the last 1 2 months?
YES (ASK A-B) 1
NO (GO TO Q.6) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
6. (With the exception of elementary or high school performances,) Did you go to a live
ballet performance during the last 1 2 months?
YES (ASK A-B) 1
NO (GO TO Q.7) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4 ,
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
(With the exception of elementary or high school performances,) Did you go to a live
dance performance other than ballet, such as modern, folk, or tap, during the last 12
months?
YES (ASK A-B) 1
NO (GO TO Q.8) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
6
B. In what type of place or facility did you see this (most recent) performance? IF
R OFFERS THE SPECIFIC NAME OF A FACILITY BUT CANNOT CATEGORIZE IT
BY TYPES GIVEN BELOW, WRITE THE NAME GIVEN.
Church, synagogue, mosque, other facility associated
with a religious organization 1
Civic center 2
Coffee house 3
College facility 4
Concert hall, opera house 5
Dinner theater 6
Elementary or high school facility 7
Library 8
Museum or art gallery 9
Nightclub/Jazz club coffee house 10
Park or other open-air facility 11
Theater 12
Town hall, city hall 13
The "Y" (YMCA, YWCA, YMHA, YWHA, etc.) 14
OTHER (SPECIFY) 96
8. During the last 12 months, did you visit an art museum or gallery?
YES (ASK A) 1
NO (GO TO Q.9) 2
A. About how many times did you do this during the last 12 months?
NUMBER OF TIMES
9. (During the last 12 months,) Did you visit an art fair or festival or craft fair or festival?
YES (ASK A) 1
NO (GO TO Q.10) 2
A. How many times did you do this during the last 12 months?
NUMBER OF TIMES
1 0. (During the last 1 2 months,) Did you visit an historic park or monument or tour buildings
or neighborhoods for their historic or design value?
YES (ASK A) 1
NO (GOTO Q.11) 2
A. How many times did you do this during the last 12 months?
NUMBER OF TIMES
1 1 . With the exception of books required for work or school, did you read any books during
the last 1 2 months?
YES (ASK A) 1
NO (GO TO Q.12) 2
A. About how many books did you read during the last 12 months?
Number of books
12. (During the last 12 months,) Did you read any...
YES NO
Plays? 1 2
Poetry? 1 2
Novels or short stories? 1 2
13. (During the last 12 months,) Did you listen to:
YES NO
A reading of poetry, either live or recorded? 1 2
A reading of novels or books, either live or recorded? 1 2
8
1 4. During the last 1 2 months, have you watched any of the following on television or video
(VCR) tape?
A. How many times
Watched in did you do this
Type of Performance past 1 2 months? in past 1 2 months?
A jazz performance? YES 1 => TIMES
NO 2
A classical music YES 1 => TIMES
performance? NO 2
An opera? YES 1 => TIMES
NO 2
A musical stage play YES 1 =» TIMES
or operetta? NO 2
A nonmusical stage play? YES 1 ■» TIMES
NO 2
A dance performance, such as YES 1 =» TIMES
ballet, modern, folk, or tap? NO 2
A program about artists, art YES 1 => r__ TIMES
works, or art museums? NO 2
1 5. During the past 1 2 months, did you listen to any of the following types of performances
on the radio, on records, tapes, or compact discs?
Type of Performance
Jazz? YES 1
NO ..... 2
Classical music? YES 1
NO 2
Opera music? YES 1
NO 2
A musical stage play YES 1
or an operetta? NO 2
A nonmusical stage play? YES 1
NO . 2
16. (During the last 12 months), have you gone out to a movie theater to see a movie?
(Do not include movies you have watched on a VCR or at some other place other than
a movie theater.)
YES
NO
1
2
17. I'm going to read to you a list of arts events that some people like to attend. If you
could go to any of these events as often as you wanted, which ones would you go to
more often than you do now? I'll read the list. Go to ...
YES
NO
Jazz music performances
Classical music performances
Operas
Musical plays or operettas
Non-musical plays
Ballet performances
Dance performances other than ballet
Exhibits at art museums or galleries .
2
2
2
2
2
2
2
2
IF ONLY ONE IS CHOSEN, SKIP TO NEXT ITEM.
IF MORE THAN ONE IS CHOSEN, ASK A:
A. Which of these would you like to do most?
I've just mentioned many different types of arts activities.
18. In general, would you like to attend cultural and artistic events more often than you
have in the past 1 2 months?
YES (ASK A) 1
NO (GOTOQ.19) 2
10
A. What are the reasons that you did not attend these types of events (more often)?
PROBE: Are there other reasons? RECORD VERBATIM AND CODE AT END OF
INTERVIEW.
B. How about (ITEM)? IF NEEDED: Was this a reason you did not attend arts events
(more often)?
READ ITEM ONLY IF NOT MENTIONED IN "A".
1 . Was the cost of tickets a reason you did not attend Yes . 1
more often? No . . 2
2. The distance or travel time to events or inconvenient Yes . 1
location of events? No . . 2
3. The quality of the performances? Yes . 1
No . . 2
4. Lack of transportation or parking problems? Yes . 1
No . . 2
5. Not having enough time to attend? Yes . 1
No . . 2
6. Safety or fear of crime in the area where an event Yes . 1
was held? No . . 2
C. IF MORE THAN ONE REASON: Of the reasons you just mentioned, which is the
most important?
19. In general, how important is it to you to be able to attend or to take part in arts
activities and events? Would you say it is...
very important, 1
somewhat important, 2
not at all important? 3
/
11
20. In your opinion, how important is it to offer activities such as music, dance, theater, and
art in the schools? Would you say that it is...
very important, 1
somewhat important, 2
not at all important? 3
21 . How do you learn or find out about arts events in your community? CIRCLE ALL THAT
APPLY. PROBE: In what other ways do you find out about events?
NEWSPAPER(S) (ASK A-D) 1
WORD OF MOUTH 2
FRIENDS, RELATIVES, OTHER INDIVIDUALS 3
MAILED ANNOUNCEMENT, FLYER, BROCHURE 4
POSTERS/NOTICES IN PUBLIC AREAS 5
TELEVISION (ASK E,F) 6
RADIO (ASK G) 7
MAGAZINE (ASK H) 8
SCHOOL NOTICES 9
TELEMARKETINGH"ELEPHONE SOLICITATION 10
OTHER (SPECIFY) 11
NONE/DO NOT GET INFORMATION ABOUT
ARTS EVENTS (GO TO Q.22) 00
A. Which newspaper(s)?
B. In general, how many days each week do you read a newspaper?
DAYS/WEEK
C. Do you usually read the Sunday paper?
YES 1
NO 2
D. Which of the following sections do you read regularly?
(CIRCLE ALL THAT APPLY)
YES NO
The front or "A" section .
Local news section
Business
Sports
Living / entertainment/arts
Neighbors
2
2
2
2
2
2
12
E. Was that on cable TV, network TV, or both?
CABLE 1
NETWORK . 2
BOTH 3
F. Which, if any, local news programs do you watch?
NONE 00
G. Which radio station?
H. Which magazine(s)?
22. In general, how would you rate the availability and adequacy of information about arts
events in your area? Would you say that it is ...
excellent, 1
good, 2
fair, or 3
poor? 4
13
^ 0ll/l5-fiovi5 <r^ 4U*> p*^- Wlr*. />o*^ <^>&^ f>T o.l( fjUpCKdjUAl 9
1. What arts and cultural organizations are you familiar with or have you heard of in the
South Florida area? These can be either large organizations, festivals, smaller or ethnic
cultural groups, etc. INTERVIEWER: RECORD VERBATIM RESPONSES.
PROBE: What other arts groups or organizations?
2. Who most often selects the arts events you attend? (PROBE FOR ONE ANSWER.)
RESPONDENT 1
SPOUSE/PARTNER 2
OTHER FAMILY MEMBER 3
FRIEND(S) 4
JOINT DECISION OF THOSE INVOLVED 5
NO CONSISTENT PATTERN 6
OTHER (SPECIFY) 7
NOT APPLICABLE-RESPONDENT DOES NOT ATTEND
ARTS EVENTS 8
3. Do you think that this area offers a reasonably good number of arts-related activities
that reflect the cultures of different ethnic groups?
YES 1
NO 2
4. Are you interested in attending arts-related activities that reflect the cultures of different
ethnic groups?
YES 1
NO 2
ASK ONLY IF PARTICIPATED IN AT LEAST ONE ART FORM (FROM QS. 1-7):
In the past twelve months, have you been a subscription ticket holder for any
performing arts organization?
YES 1
NO 2
A. Do you think that a "sampler" ticket package that allows you to choose several
different types of events is a good idea?
YES 1
NO 2
14
DEMOGRAPHIC ITEMS
These next questions are for background purposes.
1 . Do you live in Florida year-round or for part of the year?
f?L<?tf(DA
\ SlTtS
LpivLY^
YEAR-ROUND 1
PART OF YEAR 2
OTHER (SPECIFY) 3
For how many years have you lived in Florida (either year-round or for part of the year)?
STTtS YEARS
Including yourself, how many people live in your household?
NUMBER IN HOUSEHOLD
IF"1" ONLY, GO TOO. 4.
A. How many people in your household are 1 8 years old or older?
NUMBER
4. How old were you on your last birthday?
YEARS
5. Are you currently...
married, 1
widowed, 2
separated 3
divorced, or 4
never married 5
6. What is the highest grade of school or highest degree you have completed? (DO NOT
READ CATEGORIES.)
No school 1
Grades K-8 2
Grades 9-11 3
Completed high school (or GED) 4
Vocational school (after high school) 5
Some college or Associates Degree 6
Bachelors Degree 7
Some graduate school 8
Graduate degree 9
Other (SPECIFY) . 10
15
7. Which of the following best describes your race or heritage? Do you consider yourself
to be...
White, non-Hispanic, 1
Black or African-American, 2
Hispanic, 3
Caribbean islander (SPECIFY) 4
Central American (SPECIFY) 5
South American (SPECIFY) 6
Native American or Alaskan, 7
Asian, Pacific Islander, Filipino, or 8
Something else? (SPECIFY) 9
8. Which of the following categories best describes your household's total family income
in 1991?
Less than $10,000 1
$10,000 to $14,999 2
$15,000 to $19,999 4
$20,000 to $29,999 5
$30,000 to $49,999 6
$50,000 to $74,999 7
$75,000 to $99,999 8
$100,000 or more 9
9. What is your zip code?
ZIP CODE
10. INTERVIEWER OBSERVATION:
R is MALE 1
R is FEMALE 2
16
12 Local Surveys of Arts Participation Summary Report
F. Bibliography: Public Participation in the Arts
The following bibliography was prepared by the Research Division of the National
Endowment for the Arts.
Abreu, Dan; Friedman, Andrea; Logan, Catrina; Reinhart, Kay; andZiff, Charles, Survey of Public
Participation in the Arts: Musical Theatre. Operetta, and Opera Attendees. National Endowment for
the Arts, 1987
Andreasen, Alan R., Expanding the Audience for the Performing Arts. National Endowment for the
Arts and Seven Locks Press, Washington, DC 1991
Andreasen, Alan R. and Belk, Russell W., "The Effect of Family Life Cycle on Arts Patronage,"
Journal of Cultural Economics. 6:2, pp. 25-35.
Arts for America/NALAA, The Arts in Rural Areas. Washington, DC 1988.
Balfe, Judith H. and Heine, Joni Cherbo, editors, Arts Education Beyond the Classroom. ACA
Books, New York, 1988.
Balfe, Judith H. "Social Mobility and Modern Art" Social Movements. Conflict and Change. Vol. 4
(1981), pp 235-251.
Bamossy, Gary, "Socializing Experiences as Predictors of Performing Arts Patronage Behavior,"
Journal of Cultural Economics. 6:2, pp. 37-43
Baumol, William J. and Bowen, William G., Performing Arts: The Economic Dilemma. The
Twentieth Century Fund, New York, 1966
Blattberg, Robert C. and Broderick, Cynthia J., "Marketing of Art Museums" in Feldstein, Martin,
The Economics of Art Museums. University of Chicago Press, Chicago, 1991, pp 327-346.
Blatti, Jo, editor, Past Meets Present:Essays about Historic Interpretation and Public Audiences.
Smithsonian Institution Press, Washington, DC 1987.
Blau, Judith R. and Quets, Gail A., The Geography of Arts Participation: Report on the 1982 and
1985 Survey of Public Participation in the Arts. National Endowment for the Arts 1987
Cameron, S., "The Supply and Demand for Cinema Tickets: Some U.K. Evidence", Journal of
Cultural Economics. 10:1, June 1986, pp 38-62.
Cornwell, Terri Lynn, Democracy and the Arts: The Role of Participation. Praeger, New York, 1990.
Cwi, David, "Changes in the U.S. Audience for the Arts," Govenments and Culture. Association of
Cultural Economics 1984. pp. 32-42
Cwi, David, "Market Segments for Theatre: Research to Increase Arts Participation," Economic
Efficiency and the Performing Arts. Association of Cultural Economics 1986, pp. 150-158
-106
12 Local Surveys of Arts Participation Summary Report
Cwi, David, editor, Research in the Arts: Proceedings of the Conference on Policy Related Studies of
the National Endowment for the Arts. Walters Gallery, Baltimore 1978 Section on Research on the
Anisic and Cultural Consumers, pp. 10-34 includes the following articles:
Orend, Richard, "Developing Research on the Arts Consumer"
Andreasen, Alan R. and Belk, Russell W., Consumer Response to Arts Offerings: A Study of
Theatre and Symphony in Four Southern Cities"
Peterson, George L. and Anas, Alex, "A Behavioral Approach for Assessing the Demands for
Cultural and ArtisticRecreational Activities"
Katzman, Natan, "How Broadcasters Assess the Response to Program Offerings"
Cwi, David, "The Policy Uses of Audience Studies"
Useem, Michael and DiMaggio, Paul, "A Critical Review of the Content, Quality and Use of
Audience Studies"
Dickenson, Victoria, "Museum Visitor Surveys: An Overview, 1930-1990", Cultural Economics.
Ruth Towse and Abdul Khakee, editors, Springer-Verlag, New York, 1992, pp 141-150.
DiMaggio, Paul J.; Useem, Michael and Brown, Paula, The American Art Audience: Its Study and
Its Character. National Endowment for the Arts 1977
DiMaggio, Paul J., Audience Development: An Examination of Selected Analysis, and Prediction
Techniques Applied to Symphony and Theatre Attendance in Four Southern Cities. National
Endowment for the Arts, 1978
DiMaggio, Paul J.; Useem, Michael and Brown, Paula, "Audience Studies of the Performing Arts
and Museums: A Critical Review," National Endowment for the Arts, 1978
DiMaggio, Paul J. and Ostrower, Francie, Race Ethnicity and Participation in the Arts: Patterns of
Participation by Hispanic. White and African- Americans in Selected Activities from the 1982 and
1985 Surveys of Public Participation in the Arts. Seven Lock Press, Washington, DC, 1992
DiMaggio, Paul J. and Useem, Michael, "Cultural Democracy in a Period of Cultural Expansion: The
Social Composition of Arts Audiences in the United States", Social Problems. Vol 26, 1978, pp 179-
97.
Evrand, Yves, "The Determinants of Cultural Consumption," Artists and Cultural Consumer.
Association of Cultural Economics, Akron, OH 1986 pp. 192-201
Feldstein, Martin, editor, The Economics of Art Museums. University of Chicago Press, Chicago,
1991, "The Museum and the Public", a panel discussion, Ch. 2, pp.35 -60.
Felton, Marianne Victorius, "Major Influences onthe Demand for Opera Tickets," Journal of Cultural
Economics. 13:1 pp.53-64
Felton, Marianne Victorius, "On The Assumed Inelasticity of Demand for the Performing Arts",
Journal of Cultural Economics. 16:1, June 1992, pp 1-12.
Fitzhugh, Lynne, "An Analysis of Audience Studies for the Performing Arts in America", Journal of
Arts Management and Law. Part I: "The Audience Profile" is in 13:2, Summer 1983 pp 49-85; Part
II: "Market Behavior" is in 13:3, Fall 1983, pp 5-31.
107
12 Local Surveys of Arts Participation Summary Report
Gapinski, James H., "Economics, Demographics and Attendance at the Symphony," Journal of
Cultural Economics. 5:2 pp. 79-83
Gray, Charles M, "Subsidizing the Arts with Vouchers: A Case Study of the Twin Cities
Metropolitan Arts Alliance," 1992 unpublished paper
Harris, Louis, and Associates, Americans and the Arts: A Nationwide Survey of Public Opinion,
periodic surveys, American Council for the Arts, New York, 1992, 1988, etc.
Heilbrun, James, "The Distribution of Arts Activities Among U.S. Metropolitan Areas," Cultural
Economics 88: An American Perspective. Association of Cultural Economics 1988 pp. 33-40
Heilbrun, James, "Growth and Geographic Distribution on the Arts in the U.S.," Artists and Cultural
Consumers. Association of Cultural Economics, Akron, OH 1986 pp. 24-35
Hendon, Mary Ann; Richardson, James F. and Hendon, William S., Bach and the Box: The Impact
of Television on the Live Arts. Journal of Cultural Economics, Special Supplement 1985
Hendon, R. Claude, "A Comparative Study of Leisure Activities of the Elderly in the Community
and in Nursing Homes," Cultural Economics 88: An American Perspective. Association of Cultural
Economics, 1988 pp. 143-148
Hendon, R. Claude, "Arts Participation: Comparing the Elderly and Non-Elderly," Journal of
Cultural Economics. 16:1, pp. 83-92
Hoffman, Miles K. and Fritschner, Linda Marie, "Arts and Art Audiences: Testing the Market", The
Journal of Arts Management and Law. 14:2 Summer 1984. pp5-19.
Hood, Marilyn, "Staying Away: Why People Choose Not to Visit an Art Museum", Museum News.
April 1983, pp 50-57.
Hood, Marilyn, "Getting Started in Audience Research", Museum News. February, 1986, pp 25-31.
Horowitz, Harold, The American Jazz Music Audience. National Jazz Service Organization,
Washington, DC, 1986.
Horowitz, Harold; Keegan, Carol and Kempnich, Barbara, "Cultural Participation and
Geographic/Population Schema: From New York City to the Rural Farm," Artists and Cultural
Consumers. 1986 pp. 36-50
Hughes, Michael A. and Peterson, Richard A., "Isolating Cultural Choice patterns in the U.S.
Population", American Behavioral Scientist. Vol 26, March/ April 1983, pp 459-478.
Johnson, Alton C. and Prieve, E. Arthur, Older Americans: The Unrealized Audience for the Arts.
Center for Arts Administration, University of Wisconsin, Madison, 1975.
Kangun, Norman; Otto, Gordon and Randall, Dana C, "Marketing Strategies for Bolstering
Symphony Attendance among College Students", Journal of Cultural Economics. 16:1, June 1992,
pp 25-40.
- 108-
12 Local Surveys of Arts Participation Summary Report
Katz, Jonathan and Sikes, Toni Fountain, editors, Consumer Behavior and the Arts, a special issue of
The Journal of Arts Management and Law. 15:1, Spring 1985. (Entire issue)
Keegan, Carol, Public Participation in Classical Ballet: A Special Analysis of the Ballet Data
Collected in the 1982 and 1985 Survey of Public Participation in the Arts. National Endowment for
the Arts, 1987
Kurabayashi, Yoshimasa and Ito, Takatoshi, "Socio-Economic Characteristics of Audiences for
Western Classical Music in Japan: A Statistical Analysis", Cultural Economics. Ruth Towse and
Abdul Khakee, editors, Springer- Verlag, New York, 1992, pp 275-287.
McCain, Roger A., "Game Theory and Cultivation of Taste," Journal of Cultural Economics. 10:1,
pp.1-16
McCain, Roger A., "Reflections on the Cultivation of Taste," Journal of Cultural Economics. 3:1, pp.
30-50
McCaughey, C. A Survey of Arts Audience Studies: A Canadian Perspective. 1967 to 1984.
Research and Evaluation, The Canada Council, Ottawa, 1984.
Mitchel, Arnold, The Professional Performing Arts: Attendance Patterns. Perferences and Motives.
Association of College, University and Community Arts Administrators Inc., Madison, Wisconsin
1984
Morison, Bradley G. and Fliehr, Kay, In Search of an Audience: How an Audience was found for the
Tyrone Guthrie Theatre. Pitman, New York 1968
Morison, Bradley G. and Dalgleish, Julie Gordon, Waiting in the Wings. American
Council for the Arts, New York 1987
Morrison, William G. and West, Edwin G., "Child Exposure to the Performing Arts: The
Implications for Adult Demand," Journal of Cultural Economics. 10:1 pp. 17-23
National Endowment for the Arts, A Sourcebook of Arts Statistics: 1991 (1989. 1987). Washington
DC, 1992, 1990, 1988.
National Endowment for the Arts, Research Division, Surveying Your Arts Audience. Washington,
DC, 1985.
National Endowment for the Arts, Research Division, The Arts Public in the South. Publishing
Center for Cultural Resources, New York, 1984.
National Endowment for the Arts, Research Division, Arts and Cultural Programs on Radio and
Television. Washington, DC 1977
O'Hare, Michael, "Why Do People Go to Museums? The Effect of Prices and Hours on Museum
Utilization", Museym. 27:3, pp 134-146.
Orend, Richard J., Leisure Participation in the South 1980: Volumes MIL Human Resources
Research Organization and National Endowment for the Arts, 1980
109
12 Local Surveys of Arts Participation Summary Report
Orend, Richard J., Socialization and Participation in the Arts. National Endowment for the Arts,
Washington, DC, 1989
Owen, Virginia Lee and Hendon, William S., editors, Managerial Economics for the Arts.
Association of Cultural Economics, Akron, OH, 1985. Section on "Measuring Arts Participation",
pp 181-206 includes the following articles:
Horowitz, Harold, "Measuring Arts Participation in Canada and the United States"
Kinsley, Brian L., "Cultural Activities Surveys - The Canadian Case"
Robinson, John P., "Estimating the Public's Exposure to and Expenditures on the Arts"
Zuzanek, Jiri, Studies of Arts and Cultural Participation: Problems and Controversies"
Pankratz, David B., "Arts Policy and Older Adults" The Journal of Arts Management and Law. 1 8:4,
Winter 1989. pp. 13-64.
Pankratz, David B. and Morris, Valerie B., editors, The Future of the Arts: Public Policy and Arts
Research. Praeger, New York, 1990. "Part III: Social Trends and Research on Public Participation in
the Arts" pp 63-187 includes the following articles:
Cornwell, Terri Lynn, "Democracy and the Arts: The Role of Participation"
Shuster, J. Mark Davidson, "Correlates of State Arts Support: The Geographic Distribution
of Organizations, Artists, and Participation"
DiMaggio, Paul J. and Ostrower, Francie, "Participation in the Arts by Black and White
Americans"
Meyersohn, Rolf, "Culture in the Bronx: Minority Participation in the Arts"
Keller, Anthony S., "Arts Policy, Cultural Diversity, and the New Century"
Pankratz, David B., "Arts Policy in an Aging Society"
Also see extensive "Selected Bibliography", pp 289-310.
Peterson, Richard A. "Patterns of Cultural Choice", Special issue, American Behavioral Scientist.
Vol 26, 1983.
Pommerehne, Werner W. and Kirchgassner, Gebhard, "The Decline of Conventional Culture: The
Impact of Television on the Demand for Cinema and Theatre Performances," Economic Efficiency
and the Performing Arts. 1986 pp. 44-61
Rau, William, "Does Education Lead to Fine Arts Appreciation," Artists and Cultural Consumer.
Association of Cultural Economics 1986 pp. 284-286
Reed, John Shelton and Marsden, Peter, Leisure Time Use in the South: Secondary Analysis.
National Endowment for the Arts 1980
Robinson, John P. "Cultural Indicators from the Leisure Activity Survey", American Behavioral
Scientist. Vol 26, 1983, pp 543-552.
Robinson, John P.; Keegan, Carol A., and Triplett, Timothy A., Survey of Public Participation in the
Arts: 1985. Volume I Project Report. University of Maryland and National Endowment for the Arts,
Washington, DC 1987.
Schliewen, Rolf E., A Leisure Study - Canada 1975. Arts and Culture Branch, Department of the
Secretary of State, 1977
110
12 Local Surveys of Arts Participation Summary Report
Schuster, J. Mark Davidson, The Audience for American Art Museums. Seven Locks Press,
Washington, DC 1991
Schuster, J. Mark Davidson; An Inquiry into the Geographic Correlations of Government Arts
Funding. National Endowment for the Arts, 1988
Semenik, Richard and Bamossy, Gary "Methodological Issues in Arts Marketing Research",
Managerial Economics for the Arts. Virginia Lee Owen and William S. Hendon, editors, Association
of Cultural Economics, Akron Ohio, 1985, pp 23-34.
Vaughan, D. Roger, "Marketing: A Positive Approach to Managing Recreational Use of Sites in the
Countryside", Managerial Economics for the Arts. Virginia Lee Owen and William S. Hendon,
editors, Association of Cultural Economics, Akron Ohio, 1985, pp 143-150.
Waterman, David; Schechter, Russell and Contractor, Nashir S., "Overcoming Barriers to the Live
Arts: Can the Media Compensate?" Journal of Cultural Economics 15:2 pp. 19-40
Waterman, David; Schechter, Russell and Contractor, Nashir S., Public Participation in the Arts via
the Media. National Endowment for the Arts, 1987
West, Jerry, Public Participation in the Arts: Demands and Barriers National Endowment for the Arts
1987
Wyszomirski, Margaret Jane and Clubb, Pat, editors, The Cost of Culture: Patterns and Prospects of
Private Arts Patronage. ACA Books, New York, 1989.
Zill, Nicholas and Winglee, Marianne, Who Reads Literature? The Future of the United States as a
Nation of Readers. Seven Locks Press, Washington, DC 1989
Zuzanek, Jiri and Lee, Marlene, "Social Ecology of Arts Audiences", Journal of Cultural Economics.
9: 1, June 1985, pp 65-84.
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