ERIC ED410145: Patterns of Multiple Arts Participation: An Analysis of 1982, 1985, and 1992 SPPA Data.

76 Pages·1995·0.83 MB·English

by  ERIC

DOCUMENT RESUME
SO 027 525
ED 410 145
Love, Jeffrey
AUTHOR
Patterns of Multiple Arts Participation: An Analysis of
TITLE
1982, 1985, and 1992 SPPA Data.
National Endowment for the Arts, Washington, D.C.
INSTITUTION
PUB DATE
95
NOTE
79p.
Research (143)
Reports
PUB TYPE
MF01/PC04 Plus Postage.
EDRS PRICE
Art; *Attitude Measures; *Audience Participation; Audiences;
DESCRIPTORS
Dance; Drama; *Fine Arts; Mass Media Use; Music; Social
Science Research; Television Viewing; Visual Arts
*Arts Participation; *Surveys of Public Participation in the
IDENTIFIERS
Arts
ABSTRACT
Analyzing data from the 1982, 1985, and 1992 Surveys of
Public Participation in the Arts (SPPA), this study defined arts
participation as involvement in a listed activity at least once in 12 months.
Respondents were considered crossover participants if they were involved in a
single art form in more than one way or if they were involved in more than
one art form in any manner listed in the surveys. What constituted crossover
and the characteristics of multi-participants as compared to non-participants
were also part of this study. Four types of statistical procedures were used.
An analysis of relationships among participants in arts activities was made
through the use of correlations cluster analyses and factor analyses. Six
(1) significant crossover was limited to
major findings indicated that:
(2) decisions to cross
groups of activities that were related in some manner;
participate largely involved consideration of similarities among activities;
(3) the average multiple arts participant was over 40 years old, female,
college educated, earning more than 20 thousand dollars annually, white, and
(4) the average age of participants was
residing in or near urban area;
(5) strong relationships among groupings of activities were based on
rising;
definable similarities; and (6) the primary explanatory factor in crossover
participation was the ability to view the arts on television or video. These
themes suggest a strategy that includes use of media outlets (especially
television) as the vehicle for involving people in participation of more than
one type of art.
(MM)
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SC
PATTERNS OF MULTIPLE ARTS PARTICIPATION
An analysis of 1982, 1985 and 1992 SPPA Data
U.S. DEPARTMENT OF EDUCATION
Office of Educational Research and Improvement
EDUCATIONAL RESOURCES INFORMATION
CENTER (ERIC)
Nhis document has been reproduced as
eceived from the person or organization
originating it.
Minor changes have been made to improve
reproduction quality.
Points of view or opinions stated in this docu-
ment do not necessarily represent official
OERI position or policy.
8
Written by
Jeffrey Love, Ph.D.
BEST COPY AVAILABLE
TABLE OF CONTENTS
Executive Summary
1
Introduction
Chapter One:
2
The SPPA Surveys
3
Multiparticipation
3
Basic Themes of This Monograph
Crossover Participation Among the Core Activities 5
Chapter Two:
Correlations Among Core Arts Activities 6
10
Crosstabulations of Correlated Arts Activities
Activities
15
Frequency of Participation in Correlated
17
Characteristics of Multiparticipants
Chapter Three:
17
The General Demography of Multiparticipation
Demographic Characteristics Among Types of
18
Paired Activities
Patterns of Multiparticipation Among All
Chapter Four:
26
Arts Activities
28
Cluster Analysis of Core Variables
32
Factor Analysis of Core Activities
Participation
35
What Factors Tell Us About Multiple Arts
37
Conclusions
Chapter Five:
3
EXECUTIVE SUMMARY
This monograph analyzes data from the 1982, 1985 and 1992
Our analysis
Surveys of Public Participation in the Arts (SPPA).
focuses on understanding the many dimensions of crossover
This approach consists of examining
participation in the arts.
well
the magnitude and character of crossover participation, as
who are multiparticipants.
as demographic analyses of those
participation is defined
In our analysis of SPPA data, arts
least once in the past 12
as involvement in a listed activity at
First,
Crossover participation is defined in two ways.
months.
participant if they
a respondent may be considered a crossover
Second, a
in more than one way.
are involved in a single artform
if they are
respondent may be considered a crossover participant
in the
involved in more than one artform in any manner listed
participation
As we argue in the monograph, crossover
surveys.
disciplines and
is only understandable in terms of the specific
There is very little crossover
venues were it occurs.
in some
participation across discipline and venues that are not
What constitutes crossover, and the
manner related.
characteristics of multiparticipants as compared to
non-participants is also part of this study.
used in this
There are four types of statistical procedures
The magnitude of crossover participation, as well as
monograph.
measured through
the characteristics of multiparticipants, are
Our analyses of relationships among
crosstabulations of data.
the use of
participation in arts activities are conducted through
analyses.
extensive correlations, cluster analyses and factor
Selected Findings
If we measure crossover
Participation in More than One Activity.
than one arts activity,
arts participation as involvement in more
generally lower than
then crossover participation rates are
Overall, between
single participation rates for many activities.
participants across all survey
2 percent and 48 percent of arts
activities.
years engage in any two of the core survey
Correlation coefficients
Correlations Among Core Variables.
in one activity could
indicate many variables where participation
Across
in others.
be considered as a predictor of participation
(.4000 +) correlations
the ten years of the surveys, strongest
occur:
Participation in one jazz
Among all jazz variables.
o
indicator of
activity can be considered a substantial
Across all three surveys, every
participation in others.
other jazz
jazz variable correlates strongly with all
4
Attendance at live jazz concerts is the only
variables.
live attendance variable that appears among any of the
strongly correlated variables.
Viewers of all listed artforms except ballet and jazz.
o
Individuals who watch any of the artforms listed, except
ballet and jazz, are high related.
Individuals who
Classical music through media venues.
o
participate in classical music thorough recordings,
Correlations of
television or radio are highly correlated.
those who
those who participate in live classical music with
participate in classical music through various media are not
as strong.
For those
Among participation through radio and recordings.
o
activities that can be listened to, individuals who
enjoy
participate through radio broadcast are also likely to
the same artforms through recordings.
Individuals who
Across some disciplines through recordings.
o
listen to
listen to recordings of opera are also likely to
recorded classical music and musicals.
Generally a strong to very strong correlation of all
o
Non-live
performing artforms except jazz and ballet.
participation in classical music, dance, opera, musicals,
Live
and non-musical plays correlate strongly.
highly
participation in most of these artforms are not
live
In fact, only attendance at live plays,
correlated.
substantially
musicals and live classical concerts are
associated.
highly
In 1992, reading novels and reading books are very
o
correlated, while a substantial to strong correlation occurs
visits
active visits
among those activities that concern
strongly related.
to art fairs, parks and art museums are
strongly with
The lack of live attendance variables correlated
reflects the lower
either other live variables or media variables
participation rates for live activities as compared to
participation through various media.
the variables concerning
It is also interesting that none of
Although
variable.
ballet correlated highly with any other
higher than activities
ballet has a general participation rate
since ballet and
such as opera, it is probably the case that
television,
other dance cannot be enjoyed through media except on
in fewer
fewer opportunities for participation result
correlations with other artforms.
Demographic Differences Among Multi-Participants and Non-
Among all the types of crossover participation
Participants.
listed in the correlations above, and across all three survey
college
years, participants are overwhelmingly white, female,
educated, have yearly incomes over twenty thousand dollars and
live in or near metropolitan areas.
The
Among multiparticipants, there is noticeable "age creep."
By 1992,
median age of multiparticipants in 1982 was 44 years.
multiparticipant median age had increased to 47 years.
Demographic characteristics of non-participants are in some ways
Non-participants
exactly opposite of those of multiparticipants.
high school educations
are overwhelmingly white, male, have only
than twenty thousand
or less, have household incomes of less
dollars, and are as likely to live in rural areas as in or near
cities.
minorities
Between 1982 and 1992, the percentage of members of
Although the average
involved in crossover participation.
multiparticipant is still likely to be white, increases in
minority multiparticipation are a consideration.
In the
Crossover Participation and Frequency of Participation.
for some of
1992 survey, frequency of participation data exists
This data
the activities noted in the above correlations.
of
indicates that for these associated activities, the frequency
and five
crossover participation is largely between one
Only among associated jazz activities for which
occurrences.
there is frequency data do we find significant crossover
participation in frequencies greater than five occurrences.
Cluster analysis of each SPPA survey
Clusters of Participation.
reveals some groupings of individuals based on their
Basic findings are:
participation rates.
form around an
In all three years, clusters of participation
o
interest in jazz and participation in the arts through
In 1982 and 1992, there is also a cluster of
media.
activities that seems to be related by a preference for
In 1992, the
attending and/or visiting arts events.
addition of new variables results in the formation of a
in some
cluster that can best be described as an interest
literary activities.
clusters
Devolution among clusters results in these general
o
breaking down into more specific, and more significant,
This process of devolution
groups of arts activities.
normally occurs in consideration of similarities in venue or
discipline.
6
Factor analysis confirms
Factor Analysis of MultiParticipants.
and adds a slightly
many of the clusters discussed above,
Basic findings are:
different perspective on the data.
Participation data from core variables in 1982 and 1992 can
o
These factor groupings are
be summarized by five factors.
those who participate by watching
"watchers"
labeled (1)
those who attend live events
"attenders"
art events;
(2)
those who
"listeners"
or visit arts institutions;
(3)
"jazzers"
participate through radio or recordings and (4)
media and
those who participate in jazz through various
The five factors formed in 1985 data, and the seven
venues.
of variance
factors formed in 1992, account for 50 percent
found in the data.
accounting
The factor of "watchers" is the most significant,
o
measured.
for half the variance in the 25 + variables
and 1992 are those
In 1985, the only factors similar to 1982
o
Three unique clusters form in
of "watchers" and "jazzers."
(1) those who participate in opera
They are:
1985.
(2) those who attend/visit arts activities that
("opera");
and museums
allow some measure of choice such as art fairs
media
("choosers"); and (3) those who participate in live or
presentation of arts presented on stage ("stage").
caused the formation
In 1992, the addition of new variables,
o
The most
"readers."
of a new factor that can best be termed
books and
influential variables in this factor are reading
Another new factor formed from the
reading novels.
called
inclusion of new variables in 1992 can best be
of all other
"literature" since the factor largely consists
literary activities except reading books and novels.
7
INTRODUCTION
CHAPTER ONE:
of
In the past five years, public and private funding
inflation, declined.
artists and arts organizations have, after
public
While most institutions do not depend on private or
income
contributions in order to keep their doors open, earned
sales have also
from ticket sales, memberships, and associated
remained flat over the past few years.
their
Successful arts organizations not only conduct
activities with a combination of public funds, private
They also investigate how their
contributions and earned income.
membership, and
audiences choose to attend an event or purchase a
continue to support
what it takes to encourage these attendees to
the organization.
Audience
marketing.
Such investigations are more than just
understand
development efforts will help the arts administrator
and which
which books should be sold in the gift shop,
the majority of
performances are most likely to be pleasing to
is a secondary
But this type of "selling" of the arts
attendees.
The larger purpose to
effect of audience development efforts.
expectations and
audience development is to expand audience
themes,
understandings of the arts generally by introducing new
This type of audience
artforms, events and instructions.
drive away those
development may sell more tickets, and it may
about the arts.
who do not wish to expand their thinking
expanding the expectations
As many organizations have found,
achieved by simply
and understandings of your audience cannot be
One must first understand what
presenting new or unusual works.
they do
their audience finds attractive about the events
activities their
participate in, and speculate about those arts
if not immediately
audience would at least find challenging,
pleasing.
that could
This monograph presents one type of information
We
develop, audiences.
be useful in efforts to understand, and
characteristics of
investigate the patterns of participation, and
Surveys of
individuals, who reported on the 1982, 1985 or 1992
in more than one
Public Participation in the Arts (SPPA) engaging
These multiparticipants are
type of arts participation.
because we can assume
instructive to audience development efforts
restricted to one artform
that their interest in the arts is not
Multiparticipants engage in the same artform
within one venue.
in more than one artform
in many different ways, or they engage
Regardless of their patterns of
in one or many ways.
reveal
participation, the study of multiparticipants can
trends that can
demographic characteristics and/or participation
expand the range of
be very instructive to anyone seeking to
individuals who attend them.
their arts activities or the range of
The SPPA Surveys
Participation in
The 1982, 1985 and 1992 Surveys of Public
National
the Arts were sponsored by the Research Division at the
Endowment for the Arts and conducted by the U.S. Bureau of the
SPPA surveys comprise the most comprehensive assessment
Census.
of arts participation in the United States.
and race) to
SPPA survey data is weighted (by age, gender,
be representative of the non-institutionalized, over-18
Each survey contains detailed
population for each year surveyed.
four different
demographic and attitudinal questions as well as
in the arts.
kinds of questions about how respondents participate
about their
The first type of question asked respondents
activities.
direct experience with several categories of arts
participation in arts
The second type measures respondent
The third type asks about
activities through various media.
and desire for
respondent preferences for particular artforms
The last type details respondent
greater participation.
parental
experiences with art classes, instruction or
encouragement to experience the arts.
in more than
Because our focus in on actual participation
primarily focus on those survey
one art activity, we will
We will not
questions that assess actual participation.
Similarly,
investigate those that measure desire for more arts.
sufficient numbers of
because our statistical analyses require
investigate those
respondents in order to be valid, we will not
participation in
questions that measure active respondent
creating or performing the arts.
questions asked
In the 1982 and 1985 surveys, most
by answering if
respondents to indicate participation in the arts
months, and further
they had participated during the last twelve
of possible
refining their answers by indicating among a range
In the 1992
occasions of participation during the last month.
indicated participation and
survey, respondents were asked to
elaborate by listing the number of
were allowed to further
For the sake
occasions they participated during the last year.
participation in the arts means
of simplicity, in this monograph,
activity in question
that respondents have participated in the
This means that within our
during the past twelve months.
who attended an
analysis, there is no difference between persons
However,
occasions.
event once and those who attended on 15
indicate the "depth"
because frequency of participation data can
all available frequency
of crossover participation, we do analyze
of participation data from the 1992 survey.
2
9
Multiparticipation
On the most basic level, multiparticipation or crossover
in more than
arts participation can be defined as participation
This multiparticipation can be within a
one art activity.
radio
discipline such as when people both listen to jazz on the
both
and on recordings, or across disciplines such as watching
television or
opera and classical music performances on
videotapes.
while
It is one of the themes of this monograph that
wide variety of
crossover participation occurs among a
disciplines and venues, it should only be investigated when
significant numbers of people participate in two or more
activities.
activities so as to indicate a relationship among the
instance of
Hence, this monograph will not concern every
We will, instead,
multiparticipation found in the SPPA surveys.
These
posit groups of activities that compose crossover types.
correlations among
types are determined by investigating
variables, examining crosstabulations of these variables to see
proportions
if a strong correlation translates into significant
cluster and
of participants, and testing our groups through
factor analyses.
Positing and examining types of crossover participation
speculate why
simplifies our task in that we are not required to
attend both
five people out of a sample of thousands choose to
This simplification enables us to
jazz and opera performances.
significant, and
examine in more depth where crossover is more
for the disciplines
speculate about what multiparticipation means
and venues involved.
Basic Themes of This Monograph
is to
As in all monographs analyzing SPPA data, our purpose
subject in
investigate what SPPA data can indicate about the
of arts
question, and to inform discussion about many aspects
policy.
correlations of
In chapter two, we will examine
three survey
participation variables, extract themes across the
crosstabulations of variables that are strongly
years and examine
participation data
We will also examine frequency of
correlated.
the frequency in which
from the 1992 survey in order to see if
activity adds to our
individuals participate in more than one
developed in
understanding of the multiparticipation groups
chapter two.
3