Rainer Glaap has enjoyed a long career as an arts marketing and box office authority. He’s based in Bremen, Germany and although recently retired, that doesn’t seem to be stopping him from being neck deep in one fascinating research project after another.
One of his recent endeavors has been studying how much audiences are engaging with the initial round of online streaming offers from traditional cultural institutions.
Granted, his subject base is German based, but I think that contributes a great deal of added value for US based arts administrators in the form of meaningful cross-pollination. The article is divided into several sections:
- Many offers, many questions
- Who makes use of the offer?
- Which offers are known?
- The Genres
- Productions watched
- Length of stay
- Willingness to pay
- End User Devices for Streaming
I found the section on willingness to pay especially engaging; it doesn’t shy away from examining the issues related to using streaming content as an earned income revenue enhancer. I won’t spoil anything about the revenue stream portion, but will excerpt something from the question Glaap posed asking respondents if the initial efforts were engaging enough to inspire ongoing use even after halls reopened.
In this context, the question was also asked about the willingness to take up further streamed offers after the end of the pandemic and the assumed reopening of the houses. 50% of those questioned denied this.
Keep in mind, the article is translated from the original German but you shouldn’t have any trouble getting the points. You can read the full article at ArtsHacker.