Kaleidoscope Creativity

Mixed age, low level engagement, free local events, outdoor arts and festivals

  • A group characterised by low levels of cultural engagement
  • Often living in and around city areas where plenty of opportunities are within easy reach
  • Mix of ages, living circumstances, resources and cultural backgrounds
  • For many low incomes and unemployment can present barriers to accessing some cultural provision
  • Two thirds annually engage with more popular and accessible culture, some of this in the local community and outside the mainstream
  • Free, local events like outdoor arts, festivals and carnivals may appeal, and so might popular offerings like musicals and music events

More about Kaleidoscope Creativity

Overview

Lifestage & location

A majority are council tenants, though some own their own homes in slightly more prosperous areas. Like all urban segments, they are culturally diverse, but often economically challenged, are to be found in inner city areas or the suburbs of large cities like Leeds, Birmingham, with nearly half found in London.

Opportunity

Some in this group see themselves as “arty”, but they do have a slight leaning towards participatory events, and arts and heritage from cultures other than the Western mainstream. More sustained, locally co-created strategies developed with a strong knowledge of the complexities of a particular community may be key to longer term engagement. “Treats” like high-profile musicals may also be a good way to reach people in this group.


Interests

Cultural interests

A significant proportion also enjoy carnivals. However, despite having very good access to other arts and cultural events and opportunities from the western mainstream they are amongst those least likely to attend, and this is most true of classical or contemporary events.

Artforms such as film and live music are popular, whilst musical tastes are wide ranging, from soul, hip-hop and R&B to more culturally specific music, reflecting the diversity of backgrounds from which they’re drawn. About a quarter will attend such popular events annually, which is much lower than average.

They are more positively disposed to arts events than to museum or heritage offerings. Very few have membership of the National Trust or English Heritage. This supports the indication that they don’t tend to go to traditional cultural hubs or centres and are more likely to engage in the arts when it is outside these traditional places in a community setting. Such a rejection of conventional provision is perhaps reflected by an above average number feeling that the arts is not for the likes of them; whist at the same time an above average proportion see themselves as “arty people”.

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Other leisure interests

Kaleidoscope Creativity are very interested in fashion – more so than any other segment – and being based in central locations they have access to and spend a significant amount of time shopping.

However, further leisure interests outside of arts and culture are not extensive. A large proportion of this group do not own a car, which may contribute to low engagement levels at more rural or non-urban leisure sites for days out, and lower incomes are also likely to restrict opportunities for eating out at restaurants or spending time in pubs and bars. But the fact that many do not identify with the sorts of offerings available may be an equal or stronger contributory factor.

They do have some propensity, albeit comparatively small, to take up home based leisure activities such as cookery, playing computer games and browsing the internet, and are also quite heavy viewers of television through cable and satellite subscription services.


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Location

Found in inner city areas or the suburbs of large cities like Leeds, Birmingham, with nearly half found in London.

Visit our Audience Mapping tool in the Audience Finder dashboard to investigate the location of this segment

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Preferences

Creative participation

Whilst they’re comparatively niche pastimes, there is also a relatively high propensity amongst Kaleidoscope Creativity to compose music or to write poetry.

The outdoors and community spaces provide creative platforms and are important. Their interest in attending festivals and events is reflected in their high propensity to participate in carnivals and streets arts as well, most likely with culturally specific themes – they’re in fact one of the segments most likely to do so.

Kaleidoscope Creativity however also contains a higher proportion of people who don’t participate in any cultural activity at all (31%).

Almost a third of this group (31%) did not participate in any cultural activity whatsoever in the last 12 months

Lifestyle

Household incomes tend to be lower for the majority, with around two-thirds living on less than £20,000 per year.

Educational attainment is mixed with a quarter having completed a Higher Education course, but the majority of this group have not followed a further education path.

Many are likely to have been in the same area for a long time and be settled in their communities. However, lower levels of educational attainment and a reliance on public transport for travel may be factors that contribute to some facing limited employment options.

Location

The vast majority live in and around the urban centres of larger cities like, Liverpool, Birmingham, Manchester, Newcastle and Leeds. Nearly 50% are based in London and they’re to be found in inner city suburbs in flats and terraced housing, mostly in council accommodation.

Over 70% are spread evenly across the 35-65 years age range

Lifestage

Kaleidoscope Creativity comprises people across a broad age spectrum, with the majority of the group between 35-65 years old. There is a mixture of singles and generally older families, although approximately a third have children in the household.

Community involvement

Amongst the least likely to be involved in volunteering, fewer than one in five people from Kaleidoscope Creativity have volunteered in the last 12 months. When they do volunteer it is likely to be outside of arts or cultural organisations.

However, they do have strong community ties. They are the group most likely to volunteer by befriending and mentoring others and more likely to help on committees and in organising events.

Influences

Kaleidoscope Creativity respond well to communications that are entertaining as well as informative. They’re much more likely than other groups to read the Metro newspaper. This is indicative of the majority of them living in urban areas of larger cities and probably reflects their reliance on public transport, where the paper is freely distributed. They are also likely to read The Sun and are highly influenced by national newspapers and advertising which makes this an effective way to reach them. They are also quite responsive to SMS texts and information sent to their phone.

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Digital habits

They use technology as part of their daily lives, often through mobile phones. They are much more likely to browse content such as blogs and to download video and music, than to produce their own content. They are likely to be part of a broad range of social networking services like Facebook, Twitter, Myspace and YouTube.

Their engagement with cultural organisations’ websites is quite low and they only tend to use technology to research what is happening in their local area, rather than to make purchases.

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Only 59% of this group identify as White British

Diversity in segment

Kaleidoscope Creativity is a diverse segment in all sorts of ways – in fact its diversity is the key means to describe them as a group. As well as comprising quite a broad range of ages, this group has the most diverse ethnic profile of any of the segments. There is a very high proportion coming from a mixed ethnic background, almost a fifth are from Asian backgrounds and one in ten is from African/Caribbean backgrounds. This reflects the areas they live in with a broad range of exposure to many different cultures. Disability levels are slightly above average. Household composition is mixed between families and older singles. Whilst the majority live on lower incomes, there is also a significant proportion, almost 20%, with an annual household income of more than £25,000 per year.

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How to engage

Many consider that the arts are not relevant to them and whilst they’re amongst those least disposed to attending arts and cultural events – and seem to shun conventional classical and contemporary western formats and stages – many people do consider themselves to be “arty”. This incongruity suggests that there are artistic needs and aspirations that are not being met through present styles and levels of cultural provision and opportunity.

Efforts to increase engagement through arts and cultural events, might require careful planning and long term strategies which seek to reach out to people, demonstrate an understanding of their needs and aspirations and are delivered in partnership with local communities. This is about building genuine relationships with communities and audiences, understanding what they want and finding ways to deliver it to and with them sustainably. Locating key community gatekeepers to foster these creative relationships and to help communicate and engage with people from this segment will also be important.

Programme choices

Their favourable disposition towards culturally specific festivals (such as Mela, Baisakhi and Navratri) are obvious offerings that might be developed or drawn upon and as these are likely to be well received.

Mainstream and popular events such as carnivals, musicals and live music events are attended in greater numbers of people from Kaleidoscope Creativity than even culturally specific festivals – however, the overall propensity for them to do so is much less than is seen in the wider population at large. This means that if you were generally looking to find an audience (any audience) for a live music performance you wouldn’t necessarily start by trying to engage Kaleidoscope Creativity, because comparatively speaking, they’re less inclined to attend live music events than most other segments.

However, if you were looking at an activity that Kaleidoscope Creativity might engage with, you may well consider a live music performance, because in terms of actual numbers of people going, more Kaleidoscope Creativity go to live music events than to culturally specific festivals. Moreover, if you were trying to find an audience for a culturally specific festival, you almost certainly would target Kaleidoscope Creativity, because they’re more likely to engage than people from almost every other segment.

Partnerships

Local community clubs, youth programmes, churches, religious institutions, healthcare providers, local authorities, community support workers, voluntary organisations, shops and services all provide shared touch points with people in Kaleidoscope Creativity that might have mutually beneficial relationships and common interests in engaging people through them.

Their interest in fashion and shopping might also lend itself to promoting the arts and cultural activities as effective ways of reaching Kaleidoscope Creativity that stakeholders from the fashion industry might be keen on exploring and developing in partnerships with arts and cultural organisations.

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Place: Environment

Events and activities programmed to take place within conventional theatres, concert halls, museums and gallery spaces may meet with limited success in attracting Kaleidoscope Creativity. Instead, community based activities that take place on their home ground, e.g. community spaces such as youth clubs, schools or church halls, or in neutral outdoor and particularly open spaces are more likely to prove appealing, or certainly less alienating.

Place: Access & distance

Although car ownership is low, as Kaleidoscope Creativity live exclusively in and around urban centres, they are likely to be well served by public transport links. The cost of public transport however could present a barrier to some, as incomes are often lower than average. Work with local transport providers therefore might present a further partnership opportunity.

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Pricing

Expensively priced tickets will present a barrier for some in this group on low incomes, so a range of suitable price discounting options are likely to be necessary. In fact, some of the activities with which Kaleidoscope Creativity are most well-disposed to engage with tend to be free. Finding partners to enable free access, or other revenue streams (such as retail, donations, funding, or sponsorship) and volunteering opportunities to help facilitate this may be important.

Promotion

Building genuine relationships with people and communities requires significant effort and investment of time and money, but is likely to prove the most effective in reaching and attracting Kaleidoscope Creativity. Finding community gatekeepers who will act as and recruit “arts ambassadors” is one of the best ways to harness effective word of mouth.

Other channels of communication that may be most effective include advertising which has a strong focus on providing entertainment as well as information, newspaper advertising and editorial and SMS text messaging. Cultural organisations’ web content is unlikely to be widely browsed, unless “pushed” to smart phones via relevant apps and social media networking channels.

Propensity to attend is comparatively low, while their disposition to take part in participatory activities is reasonably good

Participation

Considering their propensity to attend arts and cultural events is comparatively low, Kaleidoscope Creativity’s disposition to take part in participatory activities is reasonably good. Being around or just below national averages in relation to dance (and possibly culturally specific dance), playing and creating music, painting and taking part in outdoors events; activities such as street arts, carnivals and community festivals therefore provide a potentially good opportunity.

Giving & Volunteering

Amongst the least likely to be involved in volunteering, fewer than one in five people from this segment have volunteered in the last 12 months. When they do volunteer it is likely to be outside of arts or cultural organisations. Very few have membership of the National Trust or English Heritage and are more likely to engage in the arts when it is outside these traditional places in a community setting.

They are the group most likely to volunteer by befriending and mentoring others and more likely to help on committees and in organising events.

Most likely to volunteer by befriending and mentoring others

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