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MAJOR UNIVERSITY PRESENTERS
VALUE & IMPACT STUDY
Resource Guide
Lead Partners
University of Florida Performing Arts, Gainesville
University Musical Society, Ann Arbor, Michigan
Clarice Smith Performing Arts Center, University of Maryland
Lied Center for Performing Arts, University of Nebraska – Lincoln
Mondavi Center for the Performing Arts, University of California – Davis
ASU Gammage, Tempe, Arizona
Associate Partners
Annenberg Center for the Performing Arts, University of Pennsylvania
Cal Performances, University of California – Berkeley
Center for the Performing Arts, The Pennsylvania State University
Hancher Auditorium, University of Iowa
Hopkins Center for the Arts, Dartmouth College
Krannert Center for the Performing Arts, University of Illinois
Lied Center of Kansas, University of Kansas – Lawrence
Stanford Lively Arts, Stanford University
Ontario Presenters Network
The MUP Values & Impact Study was a collaborative research effort commissioned in 2005 by a consor-
tium of 14 major university performing arts presenters (MUP). The study was self-initiated and completely
self-funded by the consortium. Their foresight and significant financial commitments made this research possi-
ble. Oversight of the study was provided by a committee consisting of the six marketing directors of the Lead
Partners. Dissemination is made possible, in part, by a grant from the Doris Duke Charitable Foundation.
Resource Guide
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Goals of the Study
1. To achieve a deeper understanding of the intrinsic impacts that result from partici-
pating in live performing arts programs, and to develop a new system for assessing
these impacts
2. To explore new ways of illustrating the impact of performing arts programs on indi-
viduals, families and communities
3. To develop new attitudinal segmentation models for performing arts ticket buyers
and donors, to aid in marketing and development efforts
Assessing the Intrinsic Impacts of a Live
Performance
Assessing the Intrinsic Impacts of a Live Performance attempts to define and measure how audi-
ences are transformed by a live performance. The study’s research design consisted of a pair
of questionnaires – one administered in-venue just prior to curtain, and the other sent home
with the respondent and mailed back. The first questionnaire collected information about
the audiences’ mental and emotional preparedness for the performance, while the second
questionnaire investigated a range of reactions to the specific performance, including capti-
vation, intellectual stimulation, emotional resonance, spiritual value, aesthetic growth and
social bonding. Between January and May 2006, six presenters surveyed audiences at a total
of 19 performances representing a cross-section of music, dance and theatre presentations.
The study develops a simple measurement tool to assess impact, provides an analytical
framework for considering the results, and suggests how performing arts presenters might
begin to use this information to select programs that create specific benefits for their con-
stituents (released January 2008).
Do you recall leaving the performance with unanswered questions that you would like to ask
the performers or creators of the work?
42% Yes 58% No
Free Downloads at www.wolfbrown.com/mup
• Summary (21 pages), PDF format
• Full Report (177 pages), PDF format
• PowerPoint Presentation, PDF format
Questions for Reflection
• What might you do to increase your audience’s “readiness to receive”?
• What steps can presenters take to maximize the likelihood that audience members
will achieve a state of “flow” during performances?
• Can you anticipate which impacts certain performances are likely to have?
• What are the potential uses of impact data for your organization?
• What are the limitations of impact assessment?
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A Segmentation Model for Performing
Arts Ticket Buyers
Over 6,000 ticket buyers on 14 campuses completed a lengthy online survey about their cul-
tural interests, preferences and core values. The questionnaire was based on extensive quali-
tative data gathered from 195 depth interviews with ticket buyers. Survey results were
matched to actual purchase data in order to examine how well attitudes predict purchase. A
cluster analysis was conducted on a total of 51 attitudinal variables, resulting in a multi-
dimensional 10-segment ticket buyer model, illustrated below. The ticket buyer model and
other results are discussed in the report A Segmentation Model for Performing Arts Ticket Buyers
(released June 2008).
Putting the Model to Work: The Creative Summit
Following release of the study, teams of marketing directors, graphic designers and copy-
writers from the 14 campuses gathered for an intensive 3-day design charrette to develop
new packaging and creative approaches for specific segments. The Creative Summit serves
as a new process model model for collaborative development of marketing strategies. The
work products of the seven teams can be downloaded from the study web page.
Free Downloads at www.wolfbrown.com/mup
• Ticket Buyer Segmentation Report (62 pages), PDF format
• Creative Summit Team Presentations (7 PDF files)
PERFORMING ARTS TICKET BUYER
SEGMENTATION MODEL (N=6,212
)
1. Mavericks
8%
10. Serenity Seekers
8%
9. Faith and Family
9%
8. Civically-Engaged
13%
7. Blockbusters
12%
6. Networked
Students
8%
5.
Classical
Devotee
4. Diversity Seekers
13%
3.
Remixers
2.
Experientials
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A Segmentation Model for Donors to 12
University Presenting Programs
Parallel to the ticket buyer segmentation study, a separate but related online survey was
administered to over 1,700 donors to 12 university presenting programs. The survey data
was matched to actual gift amounts in order to examine how well attitudes predict giving. A
cluster analysis was conducted on a total of 39 attitudinal variables (including 17 different
motivations for giving), resulting in a multi-dimensional 5-segment donor model, illustrated
below. The donor model and other results are discussed in the report A Segmentation Model for
Donors to 12 University Presenting Programs (released June 2008).
Free Downloads at www.wolfbrown.com/mup
• Donor Segmentation Report (51 pages), PDF format
Contact Information
WolfBrown
808A Oak St., San Francisco, CA 94117
telephone (415) 796-3060
www.wolfbrown.com
• Alan S. Brown, Principal
alan@wolfbrown.com
• Jennifer L. Novak, Consultant
jennifer@wolfbrown.com
• Jerry Yoshitomi, Study Advisor
Contact Info. for Study Partners:
• Sara Billmann, University Musical
Society, [email protected]
• Elizabeth Auer, Univ. of Florida Perf. Arts,
• Susie Farr and Brian Jose, Clarice Smith
Performing Arts Center at Maryland,
• Michael Porto, ASU Gammage,
• Michael J. Rose, Annenberg Center for the Perf.
Arts at Penn, [email protected]penn.edu
• Deborah C. Rossi, Univ. of Florida Performing
Arts, [email protected]
• Laura Sweet, Lied Center for the Perf. Arts,
PERFORMING ARTS DONOR SEGMENTATIO
N
MODEL (N=1,738)
Intrinsics
22%
Networkers
23%
Co-Creators
11%
Marquee Donors
23%
Youth-Focused
21%
