2021 The Economic and Social Impact of Arts in Surrey.

1 A research report conducted by the School of Hospitality and Tourism Management, University of Surrey, in partnership with Yvonne Arnaud Theatre (Guildford, UK), The Lightbox (Woking, UK) and Watts Gallery – Artists’ Village (Compton, UK)

Project Team: Professor Gang Li Professor Caroline Scarles Professor Nigel Morgan Dr Anyu Liu Dr Jason Chen Ms Ayeisha Green Ms Xiaoying (Eden) Jiao

Project Partners: Yvonne Arnaud Theatre, Guildford, Surrey (Lead Partner) The Lightbox, Woking, Surrey Watts Gallery – Artists’ Village, Compton, Surrey

Cover image: Pexels from Pixabay 2 Executive Summary

Image: Art Talks, © The Lightbox

Over recent decades, the Government, Arts there has been an increase in the number of Council England and other key organisations arts organisations engaging in community have been increasingly promoting culture and engagement and participation initiatives. arts as key contributors to the economic and social benefit of society. In addition to the Recognising the central role of arts in improving direct and indirect economic contributions community welfare and economic benefits, realised by the sector to local, regional and this report aims to provide a unique overview national economies, the important roles of arts about the social and economic impacts of and culture in the development of education, arts in Surrey. The research brings together health and well-being and community cohesion three leading arts organisations in Surrey as have been widely recognised. Given the direct the research partners, namely: Yvonne Arnaud correlation between the arts and culture and Theatre, The Lightbox and Watts Gallery – Artists’ community health, greater investments have Village, therefore enabling insights beyond been made in this field and, over recent years, individual arts organisations.

1 The research was conducted between March With respect to the economic impacts, this and July 2020. The research includes two parts: research reveals that the three art organisations the social impact of arts in Surrey and the share similar visitors spending patterns and economic impact of arts in Surrey. A mixed- economic impacts on the surrounding areas. method approach is adopted in this research. Besides the economic benefits to the three The first part of the research uses mainly the organisations themselves, the operations of qualitative method based on eight interviews arts organisations contribute economically with partner arts organisations and community to the local and non-local areas, respectively. partners to examine the social impact of In general, for every £10 of visitors’ on-site arts in Surrey. The research on the economic spending within the art organisations, a further impact of arts is carried out through a post- economic contribution of £3.91 to £13.28 are visit online questionnaire survey with the three likely to be generated in the local and non-local arts organisations’ visitors. In total, 370 valid areas, and most of this economic benefit is responses were received across the three maintained in the local economies. organisations. In the local area, the shopping and food and drink The research finds a range of ways through which sectors are likely to benefit the most from the arts organisations create supported spaces three organisations through their visitors’ further through collaboration and partnership to provide consumption in the local area during the same opportunities for engagement for community trip to the art venue. Although the economic members both as individuals and groups. impact diminishes in the areas farther from Such initiatives are embedded in, and align to, the organisations, food and beverage sectors the key social impact drivers of community are still likely to be benefited economically identity, health and wellbeing, education and from the three art organisations. Meanwhile, skills development, social inclusion, social according to the post-visit survey, nearly 70% justice and spirituality. This research also finds of the visitors would not have come to the area that arts organisations offer a wide range of where the three art organisations are located if engagement activities that directly increase the art organisations were not in the area, which community engagement with arts. In particular, indicates the importance of the existence of communication and collaboration with key these art organisations and the contributions to partners ensures that projects are designed to their local economies and beyond. connect with the needs of vulnerable groups and those who would otherwise remain physically It should be noted that given the lockdown, distanced from the arts sites. Arts organisations significant challenges were faced in obtaining offer their specialist knowledge and expertise access to partner organisations, associated to support the social inclusion, health and community groups and visitors, which restricted wellbeing, education and creation of community the sample sizes of both the interviews and the identity within the region. online survey. A larger number and a broader range of interviewees and survey respondents During the COVID-19 lockdown, while arts would potentially offer richer, deeper and organisations recognised the importance of physical more accurate insights and wider perspectives delivery of programmes and initiatives, experiences of the social and economic impacts of arts during COVID-19 highlight the vital need to revise the organisations. offer of programmes and initiatives and consider the need for hybrid solutions to community engagement that extend across both physical and digital engagement platforms.

2 Table of Contents

EXECUTIVE SUMMARY 1

1 THE STRATEGIC DIRECTION OF ARTS WITHIN COMMUNITIES 9

1.1 THE SOCIAL IMPACT OF ARTS 10 1.1.1 Arts and Health and Wellbeing in Society 10 1.1.2 Community and Identity: Social Inclusion Through Arts 11 1.1.3 Arts and Education 11 1.2 THE ECONOMIC IMPACTS OF ARTS 12 1.3 PROJECT OVERVIEW 12 1.4 RESEARCH DESIGN 12 1.5 RESEARCH PROJECT PARTNERS 13 1.5.1 Yvonne Arnaud Theatre (Guildford) 14 1.5.2 The Lightbox (Woking) 14 1.5.3 Watts Gallery – Artists' Village (Compton) 14 1.6 STRUCTURE OF THE REPORT 15

2 THE SOCIAL IMPACTS OF ARTS IN SURREY: ENGAGING COMMUNITIES THROUGH ART 16

2.1 UNDERSTANDING SOCIAL IMPACTS AND INDICATORS 17 2.1.1 Health and Wellness 18 2.1.2 Infrastructure – Community Development 20 2.1.3 Social Justice 20 2.1.4 Culture and Heritage 21 2.1.5 Education 21 2.1.6 Faith 22 2.2 RESEARCH DESIGN FOR SOCIAL IMPACT STUDY 22 2.3 THE ROLE OF ARTS IN REALISING SOCIAL IMPACT IN SURREY 23 2.3.1 Building Relationships by Creating Family Spaces 23 2.3.2 Community Identity 24 2.3.3 Health and Wellbeing 24 2.3.4 Education and Skills Development 26 2.3.5 Social Inclusion 26 2.3.6 Social Justice 27 2.3.7 Spirituality 28 3 2.4 RANGE OF COMMUNITY ENGAGEMENT ACTIVITIES IN CONNECTING WITH ARTS 28 2.4.1 Arts Workshops 28 2.4.2 Visits and Tours 30 2.4.3 Projects 30 2.4.4 Talks 30 2.4.5 Courses 31 2.4.6 Live Performances 31 2.5 THE IMPACT OF COVID-19 ON ENGAGING WITH COMMUNITIES 32 2.5.1 Switching Online 32 2.5.2 Impact on Community Partners 32 2.5.3 Repairing the Damage of Covid-19 32 2.6 OPPORTUNITIES AND CHALLENGES FOR FUTURE DEVELOPMENTS FOR COMMUNITY ENGAGEMENT 33 2.6.1 Creating Opportunities 33 2.6.2 Facing Challenges 34

3 ECONOMIC IMPACTS OF ARTS IN SURREY: VISITOR SPENDING PATTERNS 35

3.1 INTRODUCTION 36 3.2 RESEARCH DESIGN 36 3.3 OVERVIEW OF ALL THREE ORGANISATIONS’ SPENDING PATTERNS 37 3.4 YVONNE ARNAUD’S VISITOR SPENDING PATTERNS 38 3.4.1 Demographic Profile 38 3.4.2 Behavioural Profile 39 3.4.3 Average Spending 41 3.4.4 Average Spending by Demographics 43 3.4.5 Cluster Analysis 50 3.4.6 Summary 55 3.5 THE LIGHTBOX’S VISITOR SPENDING PATTERNS 56 3.5.1 Demographic Profile 56 3.5.2 Behavioural Profile 58 3.5.3 Average Spending 59 3.5.4 Average Spending by Demographic Groups 62 3.5.5 Cluster Analysis 68 3.5.6 Summary 72 3.6 WATTS GALLERY – ARTISTS’ VILLAGE’S VISITOR SPENDING PATTERNS 74 3.6.1 Demographic Profile 74 3.6.2 Behavioural Profile 76 3.6.2 Average Spending 78 3.6.3 Average spending by demographic groups 80 3.6.4 Cluster analysis 86 3.6.5 Summary 89

4 4 CONCLUSIONS 90

4.1 THE SOCIAL IMPACTS OF ARTS IN SURREY 93 4.1.1 COVID-19: Connecting with Communities During Times of Crisis 93 4.1.2 Ensuring Community Engagement: Hybrid Digital-Physical Solutions, Collaborations and Partnerships for Social Impact 94 4.2 THE ECONOMIC IMPACTS OF ARTS IN SURREY 94 4.3 LIMITATIONS 95

REFERENCES 96

5 List of Tables

Table 1. Demographics of the sample (N=276) 39 Table 2. Per person spending in Yvonne Arnaud 42 Table 3. Per person spending in the local area 43 Table 4. Per person spending in the non-local area 43 Table 5. Average spending of people who spent by cluster 52 Table 6. Percentage distributions of demographic variables of each cluster 53 Table 7. Demographics of the sample (N = 64) 57 Table 8. Per person spending in The Lightbox 60 Table 9. Per person spending in the Local area 61 Table 10. Per person spending in the non-local area 61 Table 11. Average spending of people who spent by cluster 70 Table 12. Percentage distributions of demographic variables of each cluster 71 Table 13. Demographics of the sample (N = 30) 75 Table 14. Per person spending within Watts Gallery – Artists' Village 79 Table 15. Per person spending in the local area 79 Table 16. Per person spending in the non-local area 79 Table 17. Average spending of people who spent by cluster 87

6 List of Figures

Figure 0. Arts and social impact explorer 17 Figure 1. Visitors by the frequency of visits 39 Figure 2. Visitors by main purpose of visit 40 Figure 3. Visitors by alternative activity 40 Figure 4. Visitors by transportation 41 Figure 5. The percentage and average spending of visitors who spent 42 Figure 6. Average spending by membership 44 Figure 7. Average spending by gender 45 Figure 8. Average spending by age 46 Figure 9. Average spending by the highest level of qualification 47 Figure 10. Average spending by employment 48 Figure 11. Average spending by income 49 Figure 12. Radar chart of clusters 50 Figure 13. Distributions in different clusters 51 Figure 14. Map of the visitors’ location by cluster 54 Figure 15. Visitors by the frequency of visits 58 Figure 16. Visitors by main purpose of visit 58 Figure 17. Visitors by alternative activity 58 Figure 18. Visitors by transportation 59 Figure 19. The percentage and average spending of visitors who spent 60 Figure 20. Average spending by membership 62 Figure 21. Average spending by gender 63 Figure 22. Average spending by age 64 Figure 23. Average spending by the highest level of qualification 65 Figure 24. Average spending by employment 66 Figure 25. Average spending by income 67 Figure 26. Radar chart of clusters 68 Figure 27. Distributions in different clusters 69 Figure 28. Map of the visitors’ location by cluster 73 Figure 29. Visitors by the frequency of visits 76 Figure 30. Visitors by main purpose of visit 76 Figure 31. Visitors by alternative activity 77 7 Figure 32. Visitors by transportation 77 Figure 33. The percentage and average spending of visitors who spent 78 Figure 34. Average spending by membership 80 Figure 35. Average spending by gender 81 Figure 36. Average spending by age 82 Figure 37. Average spending by the highest level of qualification 83 Figure 38. Average spending by employment 84 Figure 39. Average spending by income 85 Figure 40. Radar chart of clusters 86 Figure 41. Distributions in different clusters 87 Figure 42. Map of the visitors’ location by cluster 88

8 1 The Strategic Direction of Arts Within Communities.

Image: The Gift of the Magi, Yvonne Arnaud Theatre

9 The Strategic Direction of Arts Within Communities

Over recent decades, the Government, Arts Council England and other key organisations have made significant strides towards promoting culture and the arts as key contributors to the economic and social benefit of society. Of note, strategic directions have highlighted the role that arts and culture play in the development of education, health and wellbeing and community cohesion. The recognition of role and power of the arts by key organisations is becoming increasingly prevalent, reflected through the government, and other organisations’ acknowledgement of the benefits of the arts to society and their drive to support such strategies within their own organisations.

1.1 The Social Impact priority is to encourage communities to consider how engagement with culture could be central of Arts to their overall wellbeing and regeneration, harnessing the overall potential benefits of arts Drawing upon key official reports, including: The to both physical and mental health (see also ACE, white paper published by The Department of 2015; AHRC, 2018). Such benefits are recognised Media, Culture and Sport (DCMS) (2016); The as including, but not limited to: positive Value of Arts and Culture to People and Society physiological and psychological changes in conducted by Arts Council England (ACE)(2015); clinical outcomes; decreasing the amount of time and The Cultural Value Project (AHRC, 2018), the spent in hospital and improved mental health. first part of this section addresses health and Such commitment to the arts is compounded wellbeing as discussed within the three reports by the DCMS’s investments and incentives, and analysed, whilst the second part moves on to collaborations with key public bodies such as discuss community. The third section focuses Arts Council England and Public health England, on the arts’ influence on education from a amongst others, to develop and promote the government and organisational perspective. contribution of the cultural sectors to improving health and wellbeing. 1.1.1 Arts and Health and Wellbeing in Society Such commitment to the health and wellbeing benefits of arts is further reflected in the ARHC The DCMS White Paper of 2016, directly reflects Cultural Value Project in the context of creative the importance of the arts through their support expression and art therapy. ACE (2015) further of the sector and its increasing role within society; enforces the vital role of arts in health and promoting the role that culture plays in building wellbeing as they identify that those who have stronger and healthier communities. A strategic attended cultural places or events within the 10 previous year are 60% more likely to report been a way of promoting community cohesion good health compared to those who had not. and play a crucial role in society. From a societal In addition, ACE (ibid) also emphasised that perspective, this report endorses engagement participation in culture and the arts is significantly with culture and the arts as providing a vehicle associated with a level of high life satisfaction for social inclusion and a feeling of citizenship for as well as good health. It also highlights that individuals. In this sense, those who engage with participation in art groups can significantly reduce arts are more likely to volunteer and participate stress for those with medical conditions. within community initiatives. For example, for criminals, it was identified that arts participation 1.1.2 Community and Identity: Social provides a feeling of inclusion through improved Inclusion Through Arts communication skills, teamwork and an increased self-awareness, which can reduce their likelihood of reoffending later in life. As recognised by DCMS (2016), the benefits afforded by engaging and promoting art and As will be further demonstrated within this culture facilitate the realisation of significant report, such commitment to social justice and social value to the wider community. According widening access to art is underpinned by a need to DCMS (2016), the power of cultural to ensure that art is positioned as something participation holds significant potential to realise which should be available for everyone, no stronger, more meaningful social relationships, matter their start in life. Everyone, no matter community cohesion, and making communities their social status, can and should be able feel safer and stronger. Positive links between to access art and realise the direct social, cultural participation and improved social skills emotional and psychological benefits of doing and engagement with the wider community, so, both as individuals and importantly, as and evidence that culture can play a role in communities. tackling crime, are all realised through arts- based community initiatives and activities. Such recognition and strategic direction reaffirm the 1.1.3 Arts and Education importance of increasing the quality of local and national partnerships in order to develop the role DCMS (2016) draws attention to the social of culture in place-making. Indeed, in realising value of culture and the arts and how they greater levels of collaboration and partnership can improve educational success. It is also between cultural sectors, opportunities exist highlighted that engaging in culture can increase to widen and deepen the benefits to society the likelihood of a young person going on to realised through engagement with art more further or higher education, providing clear widely across communities and wider society. correlation between culture and educational attainment. In line with these realisations the In addition to creation of more meaningful, DCMS have opted to support the increase of stronger community relationships, AHRC (2018) opportunities for children and young people to also highlights the importance of embedding engage with the culture and arts sector moving arts infrastructures within communities as forward. Furthermore, from an educational a means of regenerating not only the social perspective ACE draws attention to the direct fabric of communities, but doing so through the link between arts engagement and educational reinvestment with the physical, tangle spaces attainment in young people. Education within the within communities. Serving to support the arts, particularly participation in drama, holds creation and/or reinforcement of community the potential to directly improve skills such as identity and stimulating a sense of belonging empathy to enable young people’s abilities to between community members, AHRC (2018) understand the perspective of others. recognises community-based arts have long 11 1.2 The Economic 1.3 Project Overview

Impact of Arts The project focused on designing and delivering an economic and social impact analysis of arts in Surrey. From the early 1980s onwards, arts Bringing together three leading arts organisations in and cultural activities have become Surrey, namely Yvonne Arnaud Theatre (the lead project an increasing feature of urban partner), The Lightbox and Watts Gallery – Artists’ Village, regeneration programmes in the the project moves beyond an individual, organizational UK and made a great contribution analysis to draw insight into the potential culminative to local and national economies impacts of arts across Surrey and to provide insight (Reeves, 2002). The economic into the breadth and depth of initiatives to realise impact of arts has been evaluated the economic and social benefits of arts currently in many studies, taking account of undertaken across the county. Both the project team both direct economic impact (gross and project partners recognise that the research and turnover of local businesses) and report does not provide a holistic overview of all arts indirect economic impact (supplier organisations across Surrey, but rather that findings effect and consumption effect). In serve to provide an indicative insight into what is general, reported by the Arts Council currently being realised within these three leading arts England (2019), the arts and culture organisations. industry has grown £390 million in a year and directly generated £21.8 billion in turnover, £10.8 billion in 1.4 Research Design Gross Value Added (GVA), 137,250 jobs and £6.1 billion in employee This research includes two parts: the social impact of compensation. When indirect arts in Surrey and the economic impact of arts in Surrey. and induced effects are taken The first part of the research uses mainly the qualitative into account, the arts and culture method based on interviews with organisations to industry (including both market and examine the social impact of arts in Surrey. The research non-market segments) contributed on the economic impact of arts is carried out through an £48 billion in turnover, £23 billion in online questionnaire survey of visitors. This research is GVA, 363,713 jobs and £13.4 billion in designed in accordance with the following nine phases: employee compensation. • Literature review on relevant theories and At a local level, a project conducted methodologies of social and economic by the School of Hospitality and impacts of arts. Tourism Management at the • Social Impact Interviews with University of Surrey revealed that organisations. the economic impact of Watts Gallery – Artists’ Village significantly • Social Impact Secondary Data collection. boosted the local economy in and • Social Impact Interviews with around Guildford as well as the wider participating organisations. economy, contributing over £7.7 • Social Impact Data Analysis. million in terms of additional gross turnover for the UK and supporting • Economic Impact Survey Design. 124 additional jobs in 2015 • Economic impact data collection. (University of Surrey, 2016). • Economic Impact Data Analysis. • Economic and Social Impact Reporting and Dissemination. 12 Image: Burning Bright, The Scottish Colourists Private View 2019, © The Lightbox

It should be noted that the project was designed 1.5 Research Project and funded immediately prior to enforced lockdown due to COVID-19 on the 23rd of March. Partners Consequently, significant challenges were faced in obtaining access to partner organisations, Surrey is home to a rich wealth of arts-based associated community groups and visitors. organisations. Within this, the current project Respecting the critical organisational challenges was conducted in partnership with the three that were being faced by project partners, leading arts organisations in Surrey: Yvonne research focused on recent past visitations Arnaud Theatre (Guildford), The Lightbox in assessing economic impacts and a limited (Woking) and Watts Gallery – Artists’ Village number of interviews were possible with partner (Compton). Each of the organisations are organisations and wider community organisations award-winning, each with charitable missions with regard to the social impact analysis. and the embedded priority of engaging with the community through arts. Each organisation Furthermore, recognising the impact of COVID-19 operates to enable first-hand experience of arts on organisations and the resultant limited through a variety of forms, including: exhibitions, engagement with both audiences and partners, performances and a range of education and where interviews took place, these were extended outreach engagement activities. The following to include organisational reflections on continuing provides an overview of each organisation, their social impact initiatives during times of crisis and vision and philosophy. were further supported by an analysis of social media content as partner organisations utilised virtual platforms to continue limited engagement with wider community audiences. 13 1.5.1 Yvonne Arnaud Theatre (Guildford)

The Yvonne Arnaud is regional theatre with a national reach. Built in 1965, thanks to public subscription, the theatre is a registered charity, with a mission is to produce and present vibrant, outstanding, entertaining drama for the communities of Surrey, the South East and beyond.

Under Artistic Director Joanna Read, the theatre will produce and tour more of its own productions, and will seek to diversify its audiences.

The Yvonne Arnaud is increasingly an artistic resource and a cultural hub, enabling audiences to experience the thrill and delight of live theatre.

1.5.2 The Lightbox (Woking)

The Lightbox museum is an award-winning charitable arts and heritage organisation based in Woking, with the social purpose to improve the wellbeing and quality of life of its community. The Lightbox believe that the arts have the power to make people feel good and facilitate a variety of community engagement initiatives through their diverse cultural programme that benefits individuals from the surrounding area. This includes a variety of arts exhibitions, heritage objects and sites and community memorabilia. The Lightbox is a unique art institution as it focuses specifically on the story of Woking, unlike any other organisation within Surrey.

1.5.3 Watts Gallery – Artists’ Village (Compton)

Watts Gallery – Artists’ Village is an award-winning arts and heritage organisation based in Compton, Surrey. Watts Gallery– Artists’ Village provides a number of arts exhibitions for the public, as well as showcasing a variety of arts and heritage pieces and artefacts. The gallery was founded in 1904 by G F and Mary Watts who had a strong focus on social justice. The legacy of their “Art Images: (Top) Yvonne Arnaud Theatre, Paul Stead; for All” vision is reflected through Watts Gallery– Artists’ (Middle) The Lightbox Gallery & Museum, © The Village today in line with their drive towards social Lightbox; (Bottom) Watts Gallery - Artists’ Village, engagement, drawing them apart from many other arts Andy Newbold Photography organisations. Moreover, The Watts Gallery Trust is an independent charity who provide community support for their surrounding areas. 14 1.6 Structure of the Report

This report is structured as follows: Section 2 examines the social impact of arts in Surrey, with a focus on engaging communities through art. Section 3 examines the economic impact of arts in Surrey, by analysing visitors spending patterns in the three art organisations in Surrey. Section 4 concludes this report by proving key findings on social and economic impacts, recommendations for art organisations, limitations of the present project and future directions of research.

15 2 The Social Impact of Arts in Surrey: Engaging Communities Through Art.

Image: Watts Gallery - Artists’ Village, Andy Newbold Photography 16 2 The Social Impact of Arts in Surrey: Engaging Communities Through Art

2.1 Understanding Social justice with relation to civic dialogue, community cohesion, political activation and immigration; Impacts and Indicators health and wellness in the sense of liveability, ageing, public welfare and prions and rehabilitation; Social impacts are defined as measurable changes infrastructure in terms of agriculture and food, in a variety of dimensions in human communities housing, planning, transportation and infrastructure resulting from some sort of intervention and community development; faith in dimensions (Interorganizational Committee, 1995), through of religion and spiritual wellbeing; education in the form of project or policy (Turnley, 2002). the context of education and youth development Social impacts can be generally reflected and lifelong learning; environment in terms of through changes in the way which a community environment and sustainability; culture and heritage is organised. This may include organisational with regards to history and tradition, art, diversity, structures such as residence patterns, the ethnic access and inclusion; diplomacy in the sense of composition of a particular community, or the tourism and military; innovation through technology; number and types of community organisations economy in terms of economic development and which are active at a given time. These impacts workforce development. may be measured using structural analyses of communities, such as those conducted Figure 0. Arts and social impact explorer through social network analyses (Ibid.). Other indicators of such impacts include population impacts, community arrangements, conflicts between residents and newcomers, political and social structures and individual and family level impacts (Interorganizational Committee, 1995). Furthermore, Landry et al. (1993) illustrate their understanding of the study of social impacts of the arts as “essentially about the transformative power of the arts in terms of personal and social development… along a continuum from totally negative to totally positive”. They define social impacts of art as “those effects that go beyond the artefacts and the enactment of the event itself and having a continuing influence upon, and directly touch people’s lives”.

The “Americans for the Arts Wheel” puts the Source: Americans for the arts (2020) societal impacts of engagement with the arts into perspective through a variety of segmented impacts Drawing influence from this model, the report now and contributions afforded through engagement addresses the key areas of social impact that will be with the arts (see Figure 0). These include social analysed within this report. 17 2.1.1 Health and Wellness

Arts events and activities possess the power to provide individuals with a sense of belonging and social inclusion, primarily through joining groups or becoming involved with local arts (McCarthy et al., 2004; Lowe, 2000; Stern, 2000). In line with this, research suggests that seeking social connectedness is in fact a primary motivational driver for participation in the arts for many individuals (Brown, 2006; Walker, 2002).

Whilst engagement with the arts provides a plethora of benefits at a community level, this is also true for individuals and perhaps owed to the benefits of engaging with the arts at an individual level. Brown (2006) identifies an array of intrinsic benefits which take place both during and immediately after participating in arts experiences, asserting that such experiences leave an “imprint” on individuals. These benefits include captivation of the arts, spiritual awakening and aesthetic growth. Engagement with the arts can also lead to the personal development of individuals (Ibid.). This cluster Image: Jazz in the Garden, Yvonne Arnaud Theatre of arts derived benefits include personal growth, character development, maturity, good health, in mental health, emotional well-being and mental acuity and the overall development of overall quality of life (Farokhi, 2011; Malchiodi, individuals. Although, Brown (2006) argues that 2005; Ioannides, 2017). It is in the provision of a for these benefits to take place individuals must supportive environment such as art therapy that demonstrate “readiness to receive” the arts it becomes possible for individuals to explore and often, these benefits will be incurred after arts and share their meanings from a personal multiple visits to art spaces. perspective; reconciling a greater understanding of themselves and the nature of their difficulties The value of engagement with the arts may (Edwards, 2004). This can lead to positive be further sought to express through the changes in participants sense of self and may concept of art therapy. Art therapy refers to contribute to strengthening individual’s identity the therapeutic use of art making within a and positive self-image (Haeyen et al., 2015). professional setting, by people who experience challenges in living often as a result of illness In line with these realisations, a growing number or trauma, or those who are seeking personal of art therapists are partnering with museums development (Haeyen et al., 2015). This practice and other cultural spaces, in order to provide enables individuals to partake in emotional a variety of therapeutic services for diverse expression, symbolic communication, personal groups in the hope to improve participating healing and increased self-awareness through a individuals’ psychosocial and psychological variety of a nonverbal means, namely drawing, functioning (Marxen, 2009; O’Neill, 2010). painting and sculpture among other artistic Practising therapy in non-medical settings expressions. This can lead to an improvement such as museums and galleries can increase

18 participants’ well-being by providing them with trauma (Gantt and Tinnin, 2007; Talwar, 2006). a canvas to express themselves through colours This notion is supported by Talwar (2006) and figures (Ioannides, 2017). Group workshops who hypothesised art makings involvement such as this not only possess the power to of bilateral stimulation, whereby individuals benefit the individuals involved but are crucial engage the integrating and planning functions to assist cultural organisations in determining of the prefrontal cortex in order to sequence the demands of their target audiences (O’Neill, narratives. This integration between the left 2010). Studies show that such arts interventions and right hemispheres of one’s brain allows for have positive psychological effects for individuals complete processing and storage of traumatic with a range of diagnosed illnesses and mental experiences in long-term memory. disorders and can prompt social inclusion (Jensen, 2018; Jensen, 2013; Schouten et al., Art therapy has also proved a popular choice 2014). For dementia patients, a study conducted of therapeutic release for those incarcerated by Rusted et al. (2006) found that art therapy in the criminal justice system. This is perhaps provided evidence for improved mental alertness, aligned with prisoner’s susceptibility to previous sociability and physical and social engagement. trauma experiences. Indeed, many incarcerated Whilst a study focused on adult cancer prisoners have a history of trauma, depression patients demonstrated statistically significant and violence which can lead to lifelong patterns improvements in depression and fatigue (Bar-sela of self-destructive behaviours (Hongo et al., et al., 2007). Furthermore, a study conducted by 2015; Gussak, 2007). Research has provided Jensen (2013) focused on an outreach program in support for the implementation of art therapy a UK based art museum which was developed to in prisons. This affords prisoners with the engage socially excluded young mothers through opportunity to express themselves and partake arts and craft workshops demonstrates that in creative activity, providing them with much such programs can effectively enhance cultural needed diversion and emotional escape from engagement and socialisation. their realities (Gussak, 1997). Moreover, studies which have examined the implementation of Art therapy has been successfully studied and art therapy in prisons found that prisoners documented for achieving success with trauma experienced a significant decrease in depressive survivors and improving their overall resilience symptoms and improved mood as a result of (Kometiani and Farmer, 2020). This includes their engagement with the arts (Gussak, 2007; survivors of domestic violence, sexual abuse Gussak, 2004). and family violence. Among the numerous benefits of art therapy to these individuals are In addition, therapeutic benefits from arts improved mental health, decreased symptoms encounters may also be achieved by individuals of distress, interpersonal relationships, and whom observe particular arts experiences, personal sense of value (Ikonomopoulos et performances or works of art (Salom, 2008). al., 2016). Art therapy can also assist those Research suggests that people whom view suffering with post-traumatic stress disorder therapeutic art exhibits are able to see some (PTSD) as a result of such traumatic experiences of the benefits afforded through art therapy later on in life, through a reduction of anger, (Peacock, 2012; Salom, 2008). By viewing art anxiety and depression and can aid in enabling in this way rather than physically engaging in these individuals to experience a sense of the creation of it, individuals are encouraged safety (Becker, 2015; Stace, 2014). Indeed, to “let go” of strong emotions or thoughts and art therapy provides a safe methodology to are afforded the opportunity to search for approach traumatic memories and consolidate their identity, often through spiritual enquiry experiences through the use of symbols (Salom, 2008). In addition, Salom (2008) draws representative of emotions and reactions to attention to the need for museum visitors to

19 “adhere to a good code of behaviour”. In this 2.1.3 Social Justice sense, the controlled environment provided within the museum means that an individual The promotion of social interaction among may not destroy an item which prompts a community members through engagement negative reaction from them nor take home with art is a prevalent theme throughout an item which they feel a connection to, this existing research. Such interaction creates a prompts realisation and “self-awareness” among sense of community identity and contributes individuals. to the construction of social capital at the community level (McCarthy et al., 2004). In this 2.1.2 Infrastructure – Community context, the literature depicts how the arts can Development create a public realm in which opportunities are afforded for direct social contact and Engagement with the arts possess the power to therefore for establishing links among members enhance residential pride and thus transform of communities (Lowe, 2000). This is further entire communities (Delconte et al., 2016). In reflected through the map of arts benefits or addition, prior research has identified that art “architecture of value” for arts experiences spaces may achieve community development orchestrated by Brown (2006) which depicts outcomes. This is largely due to the creation of the benefits afforded through interactions with community spaces through art and heritage, art. This model illustrates a cluster of benefits which are widely viewed as neighbourhood through human interaction which improve anchors or amenities in which contribute to relations between friends, family members and local revitalization through the increase of colleagues among others. These benefits include tourism which directly improves the quality of the enhancement of personal relationships life in particular areas (Borrup, 2006; Carr and and expansion of social networks. Indeed, the Servon, 2009). According to the UK Museums communal setting and social context of which Association (2013), museums are able to directly arts experiences occur provides an inherent spill enhance individuals’ quality of life and in addition, over of benefits to society as a whole, prompting facilitate the improvement of mental and physical human interaction which is crucial to obtaining health by enabling them to engage with cultural wider societal benefits (ibid). collections in the company of others. Whilst art spaces have been largely associated The art spaces perform as public spaces in with creating social bonds among members of multiple ways which contributes to overall the community (Lowe, 2000), these benefits are community development. As a result of diversity not limited to particular groups of individuals. and the variety of programmes and events Indeed, art sites may also serve as a venue for hosted by arts organisations, these spaces community outreach and involvement through represent a community hub which attracts and the provision of opportunities for marginalized represents diverse audiences (Grodach, 2009). groups of society including cultural minorities, This contributes to community cohesion and the homeless and the mentally ill among others, development. Indeed, the provision of a wide to participate in the arts (Borrup, 2006; Carr variety of activities aimed at different audiences and Servon, 2009; Wali et al., 2002). By fostering creates opportunities for community engagement bridges among diverse social groups in this way and interaction between groups. Arts organisations and encouraging community cohesion the arts also provide a venue for underrepresented groups can also promote tolerance and appreciation to enhance their visibility. of others and other cultures among individuals (Wali et al., 2002; Stern, 2000). Furthermore, art spaces also have the power to stimulate creativity by providing working and display

20 Image: Family Workshop 2019, © The Lightbox areas for members of the community, as well history provide examples of those contributing as programs to build artistic skills (Markesun to such public benefits. Furthermore, arts and Johnson, 2006; Mommaas , 2004). For organisations can provide a space that reflects local artists, these spaces may also serve as community identity which may be associated community centres where their work may with community culture (Brown, 2006). be displayed within an environment where mentoring and peer review are encouraged 2.1.5 Education (Markesun and Johnson, 2006). Art spaces are further valued by their 2.1.4 Culture and Heritage surrounding communities in line with the increasingly apparent societal role of art in the Over the years there has been an increasing community with regards to supporting education presence within the literature depicting the and skills development, particularly with regard engagement between art and heritage with to children (Eckhoff, 2007; Ruppert, 2006). social engagement among individuals and Indeed, engagement with the arts can improve communities. When addressing the social children’s overall attitude to learning and school value of the arts McCarthy et al. (2004) assert (Ruppert, 2006). In addition, research suggests that ‘Intrinsic benefits accrue to the public that students partaking in art museum tours not sphere when works of art convey what whole only gain knowledge about the art which they communities of people yearn to express’. In have experienced, but also display a high rate of this sense, arts which commemorate events historical empathy and the ability to appreciate significant to community identity or a nation’s what life was like for those living in other times

21 or circumstances (Greene et al., 2014). Whilst and helping one better understand their own state the arts possess the power to enhance the of mind or emotions (Simpson, 2013). Moreover, knowledge of children, this is also true for adults. the arts provide a means of introduction for Indeed, engagement with the arts can provide individuals to a variety of insights about artists, adults with a plethora of benefits with regard people, places or events which have taken place to education. Such engagement can increase previously. This can prompt them to learn more individual’s knowledge of particular topics and and when combined with direct engagement, in addition can prompt them to express their can contribute to the realisation of their spiritual individuality. Moreover, arts organisations have being through their association and exposure to increasingly been developing lifelong learning a variety of objects and artworks which link to a initiatives for adults. This provides them with a variety of times and people which inspire them variety of artistic skills and in addition, provides a (Simpson, 2013; Wuthnow, 2001). way for individuals to learn about new skills which they may have previously lacked confidence in (Greene et al., 2014). 2.2 Research Design for Social Impact Study 2.1.6 Faith In order to achieve a comprehensive understanding Lastly, engagement with the arts can provide of the social impacts and initiatives afforded individuals with a sense of spirituality whilst through the arts organisations under investigation, participating. This is largely in line with the role the this research utilised a method triangulation arts can play in bringing out one’s creative side strategy. A qualitative approach to data collection

Image: Burning Bright, The Scottish Colourists Private View 2019, © The Lightbox 22 was adopted as this enabled the researchers to 2.3 The Role of Arts in explore the operations and associated outcomes within partnerships between arts and heritage Realising Social Impact organisations and the community, and the underlying meanings of such collaborations. in Surrey First, a netnography was conducted of each The following section of the report presents of the arts organisations and their community the findings of the qualitative research on partners online spaces in order to gain insight social impacts of arts in Surrey. Reflecting the to their offerings and the benefits of these. The conceptual framing outlined in section 2.2, it principal sites analysed were organisational addresses a range of initiatives and associated social media sites, including Facebook and outcomes from relationship development and Instagram as these were the platforms education and skills development, to health and predominantly used by organisations. Data were wellbeing and social justice. collected for netnographic analysis from the 11th of May 2020 to the 5th of June 2020, during the period of strict lockdown in the UK. 2.3.1 Building Relationships by Creating Family Spaces Second, due to the understandable challenges associated with accessing participants during The data depicts that a key benefit and societal the strict COVID-19 lockdown, in-depth, semi- role of such institution’s is that they provide a structured interviews realised were lower than family space where family bonding inherently originally anticipated as many members of takes place. This coincides with Brown’s (2006) staff across arts organisations and community model which asserts that interaction with partner organisations were furloughed. Six the arts in arts spaces can enhance personal interviews were, however conducted with relationships between family and friends among representatives from all partner organisations others. Indeed, family groups are invited to with a further two interviews with community come into The Lightbox and Watts Gallery– partners. All interviews were conducted remotely Artists’ Village for specific workshops and are using video conferencing and all audio was encouraged to visit the galley for family days recorded between the 8th of June 2020 and out. Such spaces possess the power to engage 18th of July 2020 while all organisations faced younger people in a way that enables them public closure. Interviews addressed key issues to build their relationship with their parents such as: the role of arts in society, the influence or guardians. This was reflected through P1’s of arts in supporting communities and fostering response “providing a space for parents and their community identity, health and wellbeing, children can be a catalyst for helping to improve education and skills development, social their relationships”. In addition, families making inclusion and social justice; existing community repeat visits to arts organisations whether it be initiatives; opportunities and challenges for monthly or annually was reflected through the the future development of arts engagement data. Some families visit every school holiday to programmes in Surrey. Once collected, data partake in activities. This suggests the formation were analysed using thematic analysis in order to of a bond between a family and a particular arts generate the primary and secondary codes that institution. P1 emphasised “it’s almost as if we get underpinned the findings presented. to see these children grow up” when reflecting on these repeat visits from families, affirming the sense of loyalty to local arts organisations in which their visiting families possess.

23 2.3.2 Community Identity local community, but also to “broaden people’s insights in their lives, connect with the wider The contribution of these artistic organisations world, we have stories not just about surrey but to strengthening the community identity about the wider world”. within their surrounding communities was a key theme, reflecting the importance of such There is also the contribution to the creation of pockets of culture around Surrey in the context community identity for particular communities of community memorabilia and support. The within the local community, including the associated social impacts of arts organisations community as a whole and segments of the to community identity are two-fold. First, community based on their demographics, age organisational representatives described and culture. P1 expressed that The Lightbox had how the community identity is strengthened seen a “large increase in the number of repeat through the showcasing of community history in visits from Syrian refugees”. This reflects the institutional settings where it can be viewed by notion of community identity and enabling visitors. This provides communities with a story smaller groups within entire communities to from which local residents and visitors possess become involved and feel part of the community. commonalities on knowledge of places or events which have taken place in the local community. 2.3.3 Health and Wellbeing This reflects McCarthys et al.’s (2004) notion that arts which commemorate events or There are many health and wellbeing benefits characteristics significant to communities or a which are afforded through the community’s nation’s history significantly contribute to the engagement with the arts organisations. The development of community identity. provision of prescribed arts activities or wellbeing targeted initiatives play a crucial role in supporting The Lightbox showcase a heritage display called vulnerable members of the community, or those “The Woking Story” which incorporates a range experiencing difficulties. Such initiatives fulfil of local heritage for its audience. This includes gaps which are not facilitated by government the history of the town, including the stories of support. This was reflected through P4 “I think that immigration and the buildings and achievements arts and heritage organisations, they can step in of external communities which have entered the where the official support stops. There is a limit area over previous years. This provides the entire to what doctors, or the government can do, so community with a visual site where they are that’s where charities like us step in”. Although reminded of significant events and landmarks not all organisations offer prescribed initiatives around the area. Displays like this which for vulnerable individuals, each institution realises showcase memorabilia from generations ago the wellbeing benefits associated with the arts were described by P2 as holding “sentimental and therefore promote an environment where value to their local community”. This is also visitors can relax and express their enthusiasm or reflected through Watts Gallery – Artists’ creativity. Village, P4 felt that due to their location and depth of work with community the institution Several wellbeing structures have been put in has a “significant role in place making”. Arts place by both galleries. The Lightbox provide a and heritage organisations may also prove wellbeing initiative “Art in Mind” to support those a reflection of community identity. This is living with dementia and their careers, which are illustrative through Yvonne Arnaud which was usually family relations. This provides carers with built by the local community in order to fulfil their the opportunity to come in with their loved ones desire to have a theatre within the community. and focus on the art together. P1 reflected on these As P7 reflected, such commitment does not workshops, suggesting “it’s sort of an escape for a stop at simply bringing performances to the while… It’s almost as if the individual with dementia

24 Image: Art for All Community Learning Programme Participants, Watts Gallery - Artists’ Village takes the role of carer for that session, this can be creativity and “find their own inner artist” (P4). This very good for their wellbeing”. This also provides plays a significant role in promoting confidence, carers with the opportunity to see their loved ones communication, overall wellbeing and personal as who they used to be whilst partaking in creativity. relationships. This is also the case for The Lightbox Such initiatives also encourage those with who work in partnership with an organisation dementia to engage with their local community. supporting homeless people, enabling them Watts Gallery – Artists’ Village also provide to come in and benefit from engagement with workshops for those with dementia. Moreover, The creating arts and giving them a space to talk with Lightbox are also in partnership with a local care others, contributing to their overall wellbeing. home in which members of the engagement team Furthermore, Theatre Studies classes at Yvonne visit in order to conduct workshops. Workshops Arnaud with older adults aged 50-80 also promote working with vulnerable individuals such as these this form of wellbeing. P5 emphasised “when have provided indirect support with issues such looking at plays it gives you a huge excuse to talk as mental health and stress as well as improve about private things… or perhaps things in which participating individual’s coordination and people in the class had been suffering from”, socialisation. providing individuals with a crucial element of their wellbeing which can be fulfilled through their Watts Gallery – Artists’ Village work with vulnerable engagement. Such activities “engage drama skills individuals; including those within the criminal to boost their confidence and communication justice system and those who have experienced skills as well as self-expression” (P7) - on page 25 trauma, through their Art for All programme in after “fulfilled through their engagement”. order to enable these individuals to partake in 25 2.3.4 Education and Skills Arnaud which offer arts workshops in primary Development schools, where younger children are able to learn a variety of creative skills from the engagement team. In line with the charitable nature of these Organisations not only support the creative organisations, education and skills development is learning of young people, but also aim to educate a primary pillar of arts organisations values. Watts them on pursuing a career in the arts or within the Gallery – Artists’ Village aim to “educate, entertain artistic sector. Watts Gallery – Artists’ Village offer and inform” their audience (P4). Arts organisations a programme of work experience for young people provide those who may not feel they can engage aged 15-16 where they are afforded the opportunity with the arts due to personal barriers with a form to work within the institution for a two-week period. of “visual literacy” in which they can harness as an This was reinforced by The Lightbox who offer alternative means of understanding. Watts Gallery careers sessions for schools. P1 also emphasised – Artists’ Village provide educational talks to youth the museums desire to “teach children about the groups and tours of the gallery where they can multiple jobs within museum and gallery spaces”. learn more about the different works of art. These Furthermore, The Lightbox supports the education individuals are questioned about their perceptions of teachers and have orchestrated programmes of the art pieces and made to reflect on them. It of continuing professional development (CPD) for was expressed that education is key in the current them for specific projects and initiatives including climate at a time when there seems to be an the “Centrepiece project” which their students increasing focus on STEM subjects, and the arts take part in. This improves the knowledge of seem to be “diminishing in the curriculum” (P4). teachers but also affords a more sufficient depth P4 suggested that actually “a STEAM approach of understanding for students, enabling them to get of science, technology, engineering, arts and the most out of their projects. mathematics is actually what is needed”. In addition, Watts Gallery – Artists’ Village provide The opportunities afforded through arts vulnerable women involved with the criminal organisations such as Watts Gallery – Artists’ Village justice system from their partnering organisation, provide additional support and encouragement with free workshops. These individuals are also for engagement with the arts and in helping art given cards to gain free access to additional education stay alive. This coincides with the workshops and the gallery. This demonstrates the literature which identifies art institution’s as key devotion of such organisations to education in within society to supporting education and skills the community and their drive to make education development, particularly with regard to children accessible to those who may otherwise face (Eckhoff. 2007; Ruppert, 2006). Indeed, it was barriers when doing so. prevalent from the data that arts and heritage organisations within Surrey are increasingly drawing their focus towards the education of young 2.3.5 Social Inclusion people. The Lightbox have initiated workshops for toddlers and children and young people aged 11-16, The provision and encouragement of social providing a space to simply partake in the arts or inclusion was a predominant theme throughout the for those who may be behind in school, additional data. In this context, each of the arts organisations help. These workshops comprise of painting, aims to bring in those members of society who sculpture and the remaking of historic artefacts may otherwise not partake in such activities or (P1). Moreover, the “Centrepiece project” carried arts experiences. This coincides with the literature, out by The Lightbox affords school children with where engagement with arts groups has been the opportunity to produce artwork which may proven to have positive psychological effects for be put on display in the gallery for the public to individuals and prompt social inclusion for those see (P2) This support is extended through Yvonne who are socially isolated (Jensen, 2018; Jensen, 26 2013). This includes engagement with those a creative talent that they didn’t know about” who are most vulnerable to experiencing social (P4). Finally, the offering of free school trips or isolation. This is demonstrated through the drama activities from arts and heritage organisations workshops provided by Yvonne Arnaud for those also advocates social inclusion as it prohibits age 50-80. Within those who engage with this discrimination towards those children from less initiative there are several individuals who have wealthy families which may not be able to afford experienced bereavement and loneliness. This school trips. is a time when there has been a dramatic change in these individuals lives and such workshops 2.3.6 Social Justice “provide structure and in some ways act as a replica of their working life” and “enable individuals One of the key underlying values of Watts Gallery to make friends which they meet outside of – Artists’ Village is to incorporate social justice the workshops” (P5). Such opportunities for into community engagement and outreach interaction and meeting become vital for many, as projects and initiatives. This commitment P7, suggests: “we are part of what gets them out reflects the foundational philosophy of the of the house, even if they just pop in for a coffee… gallery as: “our founders believed in social justice like “knitt and natter”, for them it’s just a welcoming and they very strongly believed in creating a space where they can come and do what they want better society. So, for us, that’s something to do, and engage with others around them”. we try to live all the time” (P4). In line with the belief that everyone deserves to access equal Each organisation demonstrates a means to opportunities, the gallery does much work with promote social inclusion and strives to initiate those involved in the criminal justice system, engagement with several different groups including individuals who are incarcerated. In this within the community including those with sense, art therapy provides a therapeutic release dementia, religious groups, mental health issues, for those within the criminal justice system and special needs and other, age-related groups. can aid in decreasing depressive symptoms as Embracing this, The Lightbox specifically aims a result of trauma which they have experienced to “create different opportunities and a variety (Hongo et al., 2015; Gussak, 2007). of exhibitions in order to encourage different audiences” (P1). Furthermore, Watts Gallery Watts Gallery – Artists’ Village work with three – Artists’ Village extend their vision of social prison facilities, including one young offenders’ inclusion to those who may have experienced institution and two local women’s prisons. some type of trauma in their life, including those They work with young offenders and have in or involved with the criminal justice system. achieved several arts awards as a result of this Such involvements with arts organisations make commitment. These workshops often provide individuals who would otherwise feel excluded these individuals with their first qualification and from the arts join in and be creative. According can enable them to realise talents which they to a community partner working with vulnerable may have otherwise not had the opportunity women this this type of work “bridges the gap of to explore. Those participating in arts activities this isn’t for people like us” (P6). This institution from Her Majesty’s Prison (HMP) Send take also provides workshops for girls which have part in a variety of creative workshops within experienced difficulties in the school system the prison. It was emphasised by the director and have often been excluded. Despite their of the museum and gallery that when working circumstances these individuals were endorsed with prisoners “they do not think of them as for providing an extremely high quality of work prisoners” and instead “engage with them first with an extremely high level of concentration. and foremost as artists”. In addition, Watts This enables them to feel included in the arts Gallery – Artists’ Village hosts an annual selling and “gives them a real confidence that they have exhibition with the prison, where members of the 27 public visit and purchase exhibits. Although there 2.4 Range of Community is no official data measuring the impacts of these experiences according to P4 “it would seem that Engagement Activities in the programmes have a very positive grounding effect”. Furthermore, social justice is reflected Connecting with Arts through The Lightbox’s initiative which partners Each of the project partner organisations provide with an organisation supporting homeless workshops for their community members people. By providing a space for people who and partners. The fundamentals of these have suffered from homelessness and other workshops include the support and guidance of difficulties to express themselves through art, professionals to participating individuals. These Watts Gallery – Artists’ Village displays the same workshops come in a variety of forms for a vast passion for equal opportunities and access audience within the community. Moreover, some to the arts as George F. and Mary Watts, the of these initiatives have been moved online as a gallery’s original founders. result of Covid-19 restrictions.

2.3.7 Spirituality 2.4.1 Arts Workshops Whilst it was dismissed by organisational Arts and craft workshops have been candidates that arts organisations possess implemented by both The Lightbox and Watts the position to provide a pillar of the religious Gallery – Artists’ Village in order to directly community, it was agreed and addressed by address a range of wider societal issues and the wider majority that the arts most certainly contribute to the overall wellbeing of the have a role to play in bringing out spirituality community. These include a arrange of activities among individuals within the community. Indeed, such as drawing classes for adults, drawing engagement with the arts provides a sense of classes for young people, pot-making and spirituality for those whom are not necessarily sculpture, painting, drop-in creative sessions religious or spiritual. This enables individuals to for families where they will be afforded the “connect with all sorts of people from the past” opportunity to engage in craft making together. (P5) and provides them with “their own way to be spiritual, besides what others tell them to do or be” The Lightbox’s “Art Without Walls” programme (P1). This notion is reflected through the literature. is an arts-based outreach initiative which brings Indeed, the arts are noted in the literature to resources to local care homes within Surrey, so contribute to the realisation of individuals’ spiritual that their residents can engage in creativity and being through their association and exposure to artmaking. Moreover, The Lightbox’s also provide a variety of objects and artworks which link to a a programme called “Art in Mind” which initiate variety of times and people which inspire them monthly art workshops for people living with (Simpson, 2013; Wuthnow, 2001). In addition, The dementia and their supporters, where they can Lightbox include memorabilia associated with participate in a variety of creative activities such religious groups from their local community. As part as painting, drawing and craft making. of this, the gallery provides a tour associated with the Muslim community. This provides individuals Watts Gallery – Artists’ Village also provide with a wealth of knowledge about the history of the workshops for those living with dementia through community at the museum itself and then provides their “Great Thoughts Dementia Programme” visitors with the opportunity to visit the mosque (O2). This is a primarily offsite initiative which and burial ground. This initiative is extremely takes workshops to care homes and enables important to the Muslim community in Woking as it individuals to participate in a variety of reflects their history of the first Mosque to be built activities such as storytelling, clay sculpting and in the U.K. printmaking. In addition, as part of The Lightbox’s 28 Image: Art for All Community Learning Programme Participants from Park Barn Centre, Watts Gallery - Artists’ Village

“Art and Wellbeing Programme” the gallery are afforded the opportunity to “explore the provides free storytelling and craft sessions for processes and techniques needed to master under 5’s. Furthermore, the “York Road Project” different types of art” (O1). These sessions is an initiative developed between The Lightbox enable young people to work with professional and York Road’s homeless accommodation artists to create pieces of art which may be centre. This provides individuals with a chance exhibited in the public gallery. Moreover, both to “boost their self-esteem” through artistic museums provide a series of workshops for workshops (P1). The “Art and Craft for Wellbeing” visiting school groups. These enable them to programme provides arts and crafts activities for participate in a variety of artmaking activities. patients at Woking and Sam Beare Hospices. This Workshops are also available for teachers enables them to engage with a range of creative through The Lightbox and Watts Gallery – Artists’ activities, “from making cards through to garden Village in order to improve their understanding ornaments” (O1). of the arts and improve the student experience. Furthermore, Watts Gallery – Artists’ Village Watts Gallery – Artists’ Village provide workshops provides arts and crafts outreach sessions with in partnership with the “Park Barn Centre” (O2). their partnering local women’s prisons and young This organisation provide support for individuals offenders institution. These include a variety of over the age of 55. These workshops enable activities such as painting, drawing, sculpture individuals to create pieces of art based on and printmaking. This institution also works in household objects. Furthermore, The Lightbox partnership with the “Woking Women’s Support have initiated “Young Creatives Workshops” Centre” in order to provide them with a series of for 11-16-year olds, the participating individuals workshops where they can engage in artmaking. 29 Such workshops are also available for local Syrian 2.4.3 Projects refugees as part of the “Compton Potters’ Arts Guild Revival Project”. Each year, The Lightbox’s annual “Centrepiece Project” encourages children from local schools Yvonne Arnaud provide youth theatre classes for to join the museum and showcase their work. young people in the form of workshops through This is an extremely popular project and schools their “Youth Theatre Groups” initiative (O3). These must apply to participate, with an average of give young people the chance to “explore their seven being selected every year. Students draw creativity”, and “turn their stories into theatre”. their inspiration for their work from the museums These workshops are described as a good means “Ingram Collection”. Once their artwork is on to make friends and learn new skills. The theatre display it gives them a “real sense of pride” offers open stage, centre stage and drama groups and is reported to “boost their confidence and for these individuals. Moreover, Yvonne Arnaud sense of achievement” (P1). This also brings also offers drama workshops for older adults aged in their families and loved ones in whom want 50-80 although, unlike the youth workshops these to see their work. In addition, The Lightbox are non-physical. Instead, participating individuals also encourages students from the Woking are afforded the opportunity to play-read with college’s art related courses to take part in an their peers (O3). annual exhibition. Not only is students work displayed but they are involved in every stage 2.4.2 Visits and Tours of curating and installation of the exhibition, which according to the museum’s engagement Bookings from schools and groups of young coordinator gives them “invaluable hands- people are encouraged by The Lightbox and on gallery experience” (P1). Furthermore, as Watts Gallery – Artists’ Village. Once at the part of the “Art for All” initiative Watts Gallery galleries, student groups are encouraged to – Artists’ Village also runs an annual exhibition engage in art-making. These sessions not only with their community partners, HMP Send. This show students the artwork and heritage on also provides participating individuals with the display but talk them through some of the main opportunity to have their artwork on display pieces step by step. The Lightbox provide a for the public to see. The gallery also organises variety of tours for young people of all ages selling exhibitions for these individuals where through their educational organisations. members of the public can come into the prison They link these tours and direct the children’s to view and purchase the work of the inmates creativity in line with the National Curriculum. Moreover, “Open Mind” is partnership between 2.4.4 Talks The Lightbox and their partnering mental health charity “Woking Mind”. In line with this Watts Gallery – Artists’ Village provide initiative, The Lightbox facilitate “relaxed tours” informative talks and lectures based on selected on a monthly basis for individuals involved with topics and points in time, these are available for the mental health charity (O1). Furthermore, a range of different groups throughout the week. The Lightbox have also partnered with an These talks run weekly and are on an ongoing basis, organisation called “Kids in Museums”, initiating these are predominantly targeted towards adults. a “Kids in Museums Takeover Day” which The Lightbox also hosts a series of talks open to the enables young people to visit the museum and community based on a range of subjects relevant “take control” of their social media accounts to their collections. These talks run on a weekly or and exhibitions to help them become more monthly basis depending on individual initiatives. welcoming to young people (O1). Talks are also provided by the Lightbox on a weekly basis for their younger audience in the form of storytelling sessions for children. 30 2.4.5 Courses

Each of the arts and heritage organisations investigated provide schoolteachers with some form of CPD. The Lightbox provide CPD workshops for teachers to improve their understanding of the arts. These are orchestrated in line with projects between the museum and the partnering educational organisations in order to provide teachers with further guidance beyond the initial workshop which they have participated in. This is the case with the “Centrepiece project” where teachers are required to support pupils through their work. Watts Gallery – Artists’ Village have initiated this type of learning in the form of bespoke training days, these are also ad-hoc and suited to the specific demands of educational organisations at the time. In addition, Yvonne Arnaud’s “Youth Image: Yvonne Arnaud Theatre and Participation Department” has dedicated a team of practitioners who are able to support 2.4.6 Live Performances teachers through in-depth drama workshops. The theatre also provides tailored workshops Yvonne Arnaud invite groups of school children, to fit in with teachers teaching plans and friends and organisational members to come in current criteria. Their current available ready- and watch their live theatre performances. The made workshops include: “Ancient Greece”, theatre also has an outreach programme with “Shakespeare”, “An Inspector Calls”, “Poetry”, the “Pilgrim Wood Residential and Dementia “Technical Theatre” and “Production” (O3). Care Home”. In this programme a small group Watts Gallery – Artists’ Village offer an engaging of “Youth Theatre Members” take a short programme of events and study centre time, this piece of theatre to perform to the residents is open to students, researchers and academics (O3), providing both groups with an enriching and operates all year round. this enables engagement. They have also initiated a “Youth participants to engage with subjects such as Theatre Summer Production” which is a “Fine Art, Illustration, Design, Architecture, production performed by local young people. History of Art Design, Heritage, Museum Studies Watts Gallery – Artists’ Village also host a and History and Politics” (O2). Watts Gallery – series of live drama performances in order to Artists’ Village also offers a five-week course bring in members of the community. These in “History of Art and Design” for community are delivered in partnership with some of their members. The gallery also offers workshops partner organisations including “Guildford in partnership with the Feltham Young Shakespeare Company”, “Guildford International Offenders Institution which also have a course Music Festival” and the “Guildford Book Festival”. element, enabling participating individuals the Moreover, the gallery also offer a series of “open opportunity to gain qualifications through their studio” sessions where visitors watch artists at work, which may often be the first qualification work. they ever achieve.

31 2.5 The Impact of Covid-19 2.5.2 Impact on Community Partners on Engaging with It was identified that as a result of Covid-19 Communities restrictions many members of the community had been stopped from participating in the As highlighted in Section 1, this research was arts activities which they usually would through conducted during the period of strict lockdown their local arts institution. P1 expressed that and easing of lockdown in the UK due to this has resulted in some “serious impacts” COVID-19. At this point, no arts and cultural on The Lightbox’s community partners as organisations were open to the public and as these workshops are something which they a result, significant challenges were faced in look forward to each week. In this context, maintaining significant, engaging relationships the participant referred to those whom visit with community partner organisations. Despite the museum with health conditions such as these challenges, the social impact of arts in “Dementia” and “Alzheimer’s” “deteriorating Surrey by partner organisations continued within themselves” as a result of not being able as they revised business as usual operations to engage with the arts in which they usually and adopted creative and innovative ways would. to continue their commitment to partner organisations. While not the overall focus of this 2.5.3 Repairing the Damage of report, given the timing, we were in a unique Covid-19 position to offer some insight into the challenges and opportunities that emerged during this time. In line with the repercussions of the pandemic and lockdown period it was suggested by P1 2.5.1 Switching Online that there is an increasing opportunity within wellbeing work. In this sense, it was emphasized A key impact of Covid-19 for arts organisations that there will now be a higher demand for the was the drive to initiate online alternatives for their wellbeing work and programmes provided by community outreach programmes. In the case of the museum as a result of Covid-19, and it will Watts Gallery – Artists’ Village, they felt it was their be “even more necessary and needed” (P3). “charitable mission” to continue engagement with Moreover, it was emphasised by The Lightbox the community (P4). This resulted in the initiation that there has been reports from their partners of several online programmes and digital activities working with early stage dementia that their to keep their audience engaged during lockdown. clients had not been receiving the “kind of The Lightbox also initiated their “Lightbox at stimulation and support” which they would Home” section on their website which provides usually receive from the museum upon their individuals a range of ideas and ways to stay scheduled visits (P3). creative at home. These included craft workshops where people could make things in their own home (P2). Furthermore, it was highlighted by P4 and P1 that although there are many benefits of such online initiatives, there are also challenges in terms of support at home, especially for vulnerable individuals. Other challenges of online content delivery were addressed by P1, who drew attention to the lack of technological knowledge of some of the older groups within the community including those living with dementia. This may have affected their ability to participate online. 32 Image: The Snow Queen, December 2020, Yvonne Arnaud Theatre, Craig Fuller Photography

2.6 Opportunities and comes with participating in the arts and is now prohibited due to the new social distancing Challenges for Future restrictions. This has led Watts Gallery – Artists’ Village to think about “if the same experience can Developments for be delivered digitally?” (P4) and if so, how this Community Engagement can provide an opportunity to deliver content to a wider audience of people. For The Lightbox, the The report now addresses the opportunities and idea of reassessing the offer was reflected upon challenges for future developments within the as an undertaking that would need to be realised arts sector of Surrey to further existing work in in partnership with community partners. In this achieving social impact within communities. context, it was emphasised that the museum would like to speak to partners about their “new 2.6.1 Creating Opportunities strategic aims” in line with the current “changing climate” as they may wish to change their offer or strategy (P2). Reassessing the Offer A key theme among individuals representing More Community Outreach the arts organisations was the need to reassess the offer of what they currently provide as a It was established by the arts organisations that result of Covid-19. This is primarily as a result of they would like to engage in a wider variety of “the intense physical relationship” (P4) which community outreach initiatives. The Lightbox would like to initiate a project with the local 33 prison in order to bring art workshops to their leaving arts-based organisations in a continued inmates and have already begun discussions critical position for ongoing survival and longer- on this. In addition, The Lightbox shared term development. Such reflection on the reflections on increasing the outreach offering availability of funding is not only evident at the to schools. This would “bring the pupils into the organisational scale, but also in relation to the museum more” and “increase their engagement” design, development and operationalising of (P1). Moreover, it was emphasised by Watts community outreach projects and initiatives. Gallery – Artists’ Village that there is continued For example, The Lightbox expressed the limits strong ambition to further strengthen links they currently face in this context as they seek to and partnerships with the community by build their relationship between the gallery and a “focusing on the areas of greatest need within local prison (P2). the community” (P4). P4 saw an opportunity in building “county wide strategic partnerships” Moving forward from COVID-19: based on collaboration with organisations within Moving to hybrid solutions and Surrey work together in order to target particular social issues. alternative models

Social prescribing The arts organisations expressed that a key challenge moving forward is how to meet the changing demands as a result of the pandemic. It Moving forward Watts Gallery – Artists’ Village was felt by P1 that the current situation “happened would like to begin offering social prescribing very suddenly” and that they must now “look into initiatives. This would involve individuals being the future” and decide how to move forward. This prescribed to participate in arts initiatives at the is also the case for Yvonne Arnaud, whom are gallery rather than more traditional methods now thinking about how they can operate in the of support. P4 expressed that “the gallery new climate and in a “socially distanced world” would like to provide a service in which doctors (P7). This may include replacing productions with could prescribe patients with time in the gallery workshops or classes online. opposed to other forms of treatment and therapies”. In this sense, P4 addressed that this would be particularly aimed at older adults and expressed that arts classes or events could be orchestrated to meet such demands moving forward.

2.6.2 Facing Challenges

Funding

Access to funding is a perpetual challenge that is often highlighted in a section on challenges. For each of the arts organisations investigated, funding was expressed as a key challenge moving forward with regards to the provision of social engagement initiatives within the community, particularly as a result of Covid-19. It was stated by some that the financial effect of Covid-19 could up to five years (P4), thus

34 3 Economic Impacts of Arts in Surrey: Visitor Spending Patterns.

Image: Women in Photography Private View, © The Lightbox 35 3 Economic Impacts of Arts in Surrey: Visitor Spending Patterns

3.1 Introduction With a large inflow of visitors to Yvonne Arnaud, The Lightbox and Watts Gallery – Artists’ Village, visitors spending within and outside the venues are expected to benefit local businesses. This section aims to examine the economic impacts of Yvonne Arnaud, The Lightbox and Watts Gallery – Artists’ Village by identifying visitors spending patterns among a range of consumption such as food and drink and shopping within and beyond the art organisations (in local and non-local areas). In this research, the local area and non-local area are defined as the area within and beyond a radius of 30-minute drive from the art organisations, respectively.

3.2 Research Design Yvonne Arnaud, 64 for The Lightbox and 30 for Watts Gallery – Artists’ Village, equivalent A quantitative research design was adopted for to a completion rate of 59%, 47% and 42%, economic impact analysis. Primary data were respectively. Due to the impact of the Covid-19 collected through post-visit online surveys. A pandemic, the response rates to the survey were consistent questionnaire design was adopted below expectations; the sample sizes restrict the among the three art organisations. The survey estimation of full economic impacts such as the includes three parts. The first part asks supplier effect. Therefore, the report focuses on questions about visitors’ past visits to the art direct impact (i.e., the consumer effect). organisations; the second part asks questions on visitors’ spending during a recent trip to visit the The following sections present the results of art organisation before February 2020, including an exploratory analysis of visitors’ spending spending on transportation and spending within patterns including descriptive statistics of and outside the art venue in each category; the visitors’ demographic and behavioural profiles, third part collects demographic information of and average spending by different demographic the visitors. The survey was conducted through groups. To identify the spending patterns of an online platform Qualdrics.com, and the web visitors with different demographic background, link to the survey was distributed to the visitors cluster analysis, a method to partition to the three art organisations through their observations into clusters based on different marketing and communication channels. After characteristics, has been conducted. Based on removing incomplete and invalid responses, the results of cluster analysis, profiling of visitors overall, there are 276 valid responses for was generated to identify the spending patterns of visitors in different demographic groups. 36 Images: Yvonne Arnaud Theatre, Paul Stead

The spending pattern analysis for the three art 38.6% of the visitors made further economic organisations follows the steps below. contributions to the local economy through additional spending, mainly on shopping as well • Demographic profile of the respondents. as food and drink in the local area during the • Behavioural profile of the respondents. same trip to the art organisation. Among these local spenders, the average spending per person • Average spending of visitors who spent in per trip was £28.47. Furthermore, 5.4% of the every category, both within and outside visitors contributed to non-local economies the art organisation. through their spending mainly on food and • Visitors average total spending on-site, drink. Although only a small number of visitors in the local area and the non-local area by spent money in the non-local area, they spent demographic groups. the most with an average of £49.14. Therefore, • Cluster analysis of the visitors and these visitors to the art venues generated wider demographic profiling of each cluster. economic impacts beyond the local area of the art organisation.

3.3 Overview of All Three Overall, 69.7% of the visitors would not have come to the area where the three art Organisations’ Spending organisations are located if the art organisations were not in the area. And among those visitors, Patterns 94.2% visitors would have gone to work or stayed Across all visitors to the three art organisations, at home, and the rest 5.8% visitors would have nearly all visitors (99.2%) had on-site spending gone on a trip elsewhere in the UK. These figures besides ticketing/admission charge. On average, reveal the importance of the existence of these each visitor spent about £30.16 on-site including art organisations to their local economies and ticketing/admission charge. In addition, beyond. 37 3.4 Yvonne Arnaud’s Visitor Spending Patterns

An online post-visit survey has been distributed to visitors of Yvonne Arnaud Theatre from May to early July and 276 valid response has been collected and used in the following analysis, to understand the visitor spending patterns in Yvonne Arnaud, and the theatre’s economic impact on the surrounding area.

Images: Yvonne Arnaud Theatre, Paul Stead

3.4.1 Demographic Profile

The demographics of the visitors are listed as follows based on the post-visit survey. Overall, the theatre attracted a spectrum of visitors across different age groups, education, employment and income levels. According to Table 1, among the 276 visitors, 63% had not joined any membership scheme, 31.9% were Friends Members, and the rest were having other memberships, which indicates that most visitors did not possess memberships in a higher level than Friends Members. Among the 276 respondents, there were more female visitors than male visitors. In terms of age, most visitors were above 55 years old, with 55-64 (31.9%) being the biggest group, followed by 65-74 (27.2%) and 75 or above (19.9%). With regard to the highest level of qualification, most visitors possessed a degree lower than a Doctoral degree or equivalent, with a Bachelor’s degree (33%) and a Master’s degree (26.8%) being the dominant educational backgrounds of the visitors. Regarding the employment status, about half of the visitors (51.5%) were retired. Among the rest of the visitors, 18.5% of the visitors were on full- time employment, 13% on part-time employment and 11.6% were self-employed. The income level of the visitors spread relatively evenly across income groups, and slightly more visitors (26.8%) fell into the income group of £70,000 or above than into other income groups. 38 3.4.2 Behavioural Profile Figure 1. Visitors by the frequency of visits

The behavioural profiles reflect visitors’ visiting frequency, the main purpose of visit, alternative activity if they did not visit the theatre, and transportation used for the trip, which are presented in the following figures, again based on the post- visit survey. As shown in Figure 1, most visitors (82%) visited the theatre on a regular basis (2-6 times per year). And the rest of the visitors (18%) tended to visit the theatre once or twice every year. 39 According to Figure 2, most visitors Figure 2. Visitors by main purpose of visit visited the theatre mainly because of the theatre itself. Only a very small number of visitors were attracted by the Café bar and Restaurant (0.4%), the Mill Studio Theatre (4.7%), and the Stalls and Circle bar (0.4%). None of the visitors came to visit for other leisure activities in the local area (e.g., cycling, walking, picnic, and talk/ event) or seeing friends and relatives.

From Figure 3, if the visitors had not gone to Yvonne Arnaud, 74% of them would have stayed at home or gone to work. Alternatively, 9% of the visitors would have gone to surrounding counties and 4% of them would have gone on a trip elsewhere in the UK. Thus, the economic impacts brought by Yvonne Arnaud to the surrounding area can be seen given that most visitors (87%) would not have come to this area if the theatre was not located here.

Figure 3. Visitors by alternative activity

40 Figure 4. Visitors by transportation

Note: The percentage does not add up to 100% because some visitors used more than one transportation mode.

Finally, in terms of transportation, most visitors (80.4%) visited the theatre by car. Not many visitors used other transportation modes to visit the theatre (see Figure 4).

3.4.3 Average Spending

To provide a general description of visitors’ spending in different categories both within and outside the theatre, the percentage of visitors who spent and the average spending of those visitors in certain categories are reported in Figure 5. Overall, all visitors spent within the theatre. Nearly 40% of the visitors spent in the local area and the least visitors (4.3%) spent in the non-local area. However, the average spending of those visitors who consumed in the non-local area was the highest (£57.71 per person) compared with the average spending within the theatre (£35.12 per person) and in the local area (£28.45 per person). Tables 2-4 report the consumption portion of each category. In terms of spending within the theatre, apart from tickets, most visitors spent on food and drink (77.5%) and car parking (51.1%), with an average spending of £8.39 per person on food and drink and £1.29 on parking. Food and drink was the main category of spending in the local area, followed by shopping. Among the visitors who spent in each category of spending in the local area, they tended to spend £23.79 per person on food and drink, and £23.61 per person on shopping, although the percentage of visitors who spent on food and drink was much higher (37.7%) than that of visitors who spent on shopping (8.3%). Such spending patterns are likely to be associated with the location of the theatre (i.e., in Guildford town centre, close to many food and drink outlets) and the time of shows (often in late afternoons or evenings when retail shops are closed after the show). From Figure 5, it can be seen that not many visitors (4.3%) spent in the non-local area. So most of the economic contribution of art visitors stays within the local area of the art venue. 41 Figure 5. The percentage and average spending of visitors who spent

Note: The calculation of average spending per person is based on the number of actual spenders and the amount of their spending, and the visitors who did not consume in the respective area or category were excluded. This definition of average spending per person applies consistently throughout the report.

42 3.4.4 Average Spending by Demographics

To further analyse the spending pattern of visitors in different demographic groups, the average total spending of visitors who spent by demographic information, within the theatre, in the local area and non-local area are presented in the following figures. It should be noted that, in the figures the percentage represents the proportion of visitors who spent in the corresponding demographic group. Overall, the average total spending within the theatre was relatively consistent across different demographic groups. On average, visitors spent around £30 per person within the theatre. Thus, the following analysis focus on the spending pattern in the local and non-local areas. According to Figure 6, around 40% of visitors spent an average of about £27 per person in the local area. Most visitors did not consume in the non-local area. Only 5% of visitors with the Friends Membership spent an average of £49 per person in the non-local area and 4% of visitors without any membership spent an average of £65 per person in the non-local area. In terms of the gender difference, the average spending within the theatre was similar between male and female visitors, whereas male visitors tended to spend more than female visitors in the local and non-local areas according to Figure 7.

43 Figure 6. Average spending by membership

44 Figure 7. Average spending by gender

45 According to Figure 8, again the average spending within the theatre was consistent across different age groups. Most visitors (61%) under 44 years old spent an average of £24 per person in the local area. And most visitors who were 75 years old or above spent the most in the non-local area, with an average spending of £85 per person. In terms of the highest level of qualification (as shown in Figure 9), most visitors (40%) who held a Bachelor’s degree or equivalent spent an average of £31 per person in the local area, followed by visitors with a degree lower than a Bachelor’s degree (37%) who spent £8 more than visitors with a Bachelor’s degree. It is likely that higher education is associated with higher income and therefore higher spending power. Although only a small number of visitors spent in the non-local area, the average spending of those visitors was relatively high. About 2% of people holding a Bachelor’s degree or equivalent spent the most in the non-local area (£88 per person on average). Figure 8. Average spending by age

46 Figure 9. Average spending by the highest level of qualification

47 In terms of employment and income level (as shown in Figures 10 and 11), the percentage of visitors who had some spending and the average total spending of those visitors in the local area were consistent across different groups. In the non-local area, about 4% of the retired visitors spent the most (£83 per person), followed by 6% of the visitors who were employed on a part-time basis spending £55 per person on average. About 5% of the visitors who preferred not to say about their income spent the most with an average of £150 per person in the non-local area, followed by 5% of the visitors who earned £35,000-£49,000 per annum spending £65 per person on average.

Figure 10. Average spending by employment

48 Figure 11. Average spending by income

49 3.4.5 Cluster Analysis

K-means clustering analysis has been conducted for the 276 respondents who visited Yvonne Arnaud so that each respondent in the sample belongs to the cluster with the nearest mean (i.e., average spending in this report). The characteristics that were used to cluster the respondents are the spending in every individual category, total spending on-site, total spending in the local area, total spending in the non-local area, and total spending overall.

Figure 12. Radar chart of clusters

The radar chart in Figure 12 presents the characteristics of the four clusters. Cluster 1 mainly contains visitors who tended to spend only within the theatre. Cluster 2 contains visitors who spent the least everywhere. Visitors in Cluster 3 tended to spend moderately both within the theatre and locally. And finally, visitors in Cluster 4 spent the most in all categories.

Figure 13 shows the distribution of visitors in different clusters. Most visitors are clustered into the second cluster (43%), which indicates that most people did not spend much during their visits to

50 the theatre. The second-largest cluster is Cluster 1, with 36% of visitors who mainly spent within the theatre. About 19% of visitors spent moderately within the theatre and in the local area, whereas only 2% of visitors are clustered into the big-spender group. Table 5 shows the average spending of people who did spend by cluster. Again, the percentage in the parenthesis represents the proportion of visitors who spent in the corresponding category. The results are similar to what can be seen in the radar chart. Apart from tickets, most visitors (90%) in Cluster 1 spent on food and drink within the theatre. The average total spending of Cluster 2 is the smallest among the four clusters. Not many visitors spent outside the theatre in the first two clusters. Visitors in Cluster 3 tended to eat both within the theatre (77%) and locally (91%), with an average spending of £9.57 per person in the theatre, and £30.15 per person in the local area, which is greater than the local spending on food and drink by visitors in the first two clusters. And the average spending of visitors in Cluster 4 is the greatest across all categories except for theatre ticket spending, donation spending and shopping spending in the non-local area. All 6 respondents in Cluster 4 consumed in the local area and half of them spent in the non-local area.

Figure 13. Distributions in different clusters

51 Table 5. Average spending of people who spent by cluster

52 After clustering the respondents into groups, the demographic profiles of visitors in the groups have been examined (as shown in Table 6). In term of membership, all the 6 visitors in the big-spender group possess memberships, with 2 of them being Friends Members and 4 of them being Standard Individual Vanbrugh Supporters. Most visitors in Cluster 3 also held the two types of membership, with 34% being Friends Members and 58.5% being Standard Individual Vanbrugh Supporters. This indicates that visitors who spent relatively more both within and outside the theatre tended to be regular and loyal customers of the theatre.

Table 6. Percentage distributions of demographic variables of each cluster

53 In terms of age, in the first two Figure 14. Map of the visitors’ location by cluster clusters in which visitors tended to spend comparably less, most of them were 55-64 years old (33% and 32.5%). In Cluster 3, most of the visitors (79.3%) were above 55 years old, which indicates that relatively elder visitors were more likely to spend more within and outside the theatre.

In terms of the highest level of qualification, in the big-spender group (Cluster 4), all of the visitors held a Bachelor’s degree or lower, whereas visitors holding a Master’s degree or equivalent tended to spend less. Regarding employment, retired visitors tended to spend more both within the theatre and outside the theatre (Clusters 3 and 4). And finally, in terms of income level, most visitors (32.1%) who spent moderately both on-site and locally (Cluster 3) earned £70,000 or above per annum. For the big-spender group (Cluster 4), all visitors earned above £35,000 per annum. Geographically, the big spenders (Cluster 4) were mostly located the closest to the theatre, whereas other clusters were scattered farther afield (Figure 14). 54 3.4.6 Summary

Overall, the respondents who visited Yvonne Arnaud spread across different age groups, education, employment and income levels. On average, each respondent spent £35.12 per person on-site in the theatre. Additionally, about 39.5% of visitors consumed (£28.45 per person on average) in the local area during the trip to the theatre. Although only 4.3% of visitors spent in the non-local area, the average spending of those visitors (£57.17 per person) was the highest compared with average spending on-site and in the local area. In terms of individual categories, most visitors spent on admission, food and drink, shopping and car parking. In the local area, shopping as well as food and drink were the major categories that visitors spent in. And in the non-local area, visitors tended to spend on food and drink only.

As a result, the visitors of Yvonne Arnaud are likely to be contributing economically not only to the theatre, but also to the wider local and non-local areas in terms of business sales revenue and employment. The admission, food and drink, shopping and car parking departments of Yvonne Arnaud tend to the main driver of the direct impact. In the local area, the retail, food and beverage sectors are likely to benefit the most from the economic contribution of Yvonne Arnaud through their visitors’ additional spending. Although the economic impact diminishes in the non-local areas beyond a radius of 30-minute drive from Yvonne Arnaud, businesses especially those in the food and beverage sector are still likely to be benefited. Due to the visitor spending in the wider local and non-local areas, there is a “multiplier” effect of the on-site spending. On average, for every £10 on-site spending within Yvonne Arnaud, there is likely to be £3.20 additional spending generated in the local area, and £0.71 spending further generated in the non-local area. Overall, the multiplier of the on-site visitor spending is 1.391. In other words, for every £10 spent in Yvonne Arnaud, an overall direct economic contribution of £13.91 is likely to be generated, taking account of visitors’ total spending during the trip1.

With regard to visitors’ spending patterns, the 276 respondents have been clustered into four groups based on their spending in each category. Most visitors (43%) are clustered into the minimal spender group, and the on-site spender group is the second largest group with 36% of the visitors. About 19% of the visitors spent both on-site and in the local area moderately. Cluster 4 includes six respondents who had the highest per-person spending in most categories both within and outside the theatre.

1 The total economic impact could be larger when the indirect and induced effects are considered. 55 3.5 The Lightbox’s Visitor Spending Patterns

An online post-visit survey has been distributed to visitors of The Lightbox from mid-May to early July and 64 valid responses have been collected and used in the following analysis, to understand the visitor spending patterns in The Lightbox, and the gallery’s economic impact on the surrounding area.

Image: The Lightbox Gallery & Museum, © The Lightbox

3.5.1 Demographic Profile

The demographic information of the respondents is listed in the following table. Overall, the visitors of The Lightbox were across different gender, age groups, the highest level of qualification, employment status and income levels. In terms of membership, over half of the visitors held Individual Membership. According to Table 7, over 30% of the visitors held other types of memberships and the rest 15.6% of the visitors had no membership. Most visitors were female (67.2%) and aged between 55 and 64 years old (40.6%). With regard to the highest level of qualification, over 70% of the visitors held a Bachelor’s degree or above. Regarding the employment of income level, most of the visitors were retired (45.3%) and earned less than 35,000 per annum (39.1%). The next dominant income group is £70,000 per annum (28.1%). 56 Table 7. Demographics of the sample (N = 64)

57 3.5.2 Behavioural Profile Figure 15. Visitors by the frequency of visits

The behavioural profiles of the visitors are presented in Figures 15 and 16. Most visitors (78%) came to visit The Lightbox on a regular basis (2-8 times every year). As shown in Figure 16, most visitors’ (73%) main reason to visit is The Lightbox exhibitions. About 14% of the visitors came due to other purposes, including The Lightbox drawing for adults, volunteering activities, café scientific meeting, talk on Hockney and other workshops. The Reception and Shop and the Seasons Café at The Lightbox were relatively less Figure 16. Visitors by main purpose of visit attractive.

If the visitors had not visited The Lightbox, most of them (44%) would have stayed at home or gone to work. About 14% of the visitors would have gone on a trip in surrounding counties and only 1% of the visitors would have gone to places further (see Figure 17). The spending by these 59% of the visitors represents the economic impacts brought by The Lightbox to the local and non-local areas. Less than one-fifth of the visitors would Figure 17. Visitors by alternative activity still have gone to other palaces in Woking and villages nearby or elsewhere in Surrey. This implies the importance of The Lightbox for the local area; it acts as a key attraction to attract people to this area and generate economic contributions to local businesses through their spending with them during a trip to visit the gallery.

In terms of transportation (as shown in Figure 18), most visitors (57.8%) came to The Lightbox by car, followed by 32.8% of the visitors walked to the gallery. 15.6% of the visitors came by train and only 4.7% of the visitors came by bus or bicycle.

58 Figure 18. Visitors by transportation

Note: The percentage does not add up to 100% because some visitors used more than one transportation mode.

3.5.3 Average Spending

To present a general description of visitors’ spending in different categories both within and outside the gallery, the percentage of visitors who spent and the average spending of those visitors are reported in Figure 19. Most visitors (95.3%) spent on-site with an average spending of £12.49 per person, followed by 40.6% of the visitors who spent £16.02 per person in the local area. Although the least portion of visitors (7.8%) spent in the non-local area, the average spending of those visitors in the non-local area was the highest. Tables 8-10 report the consumption portion of each category. Table 8 reports the average spending within The Lightbox. Overall, 95.3% of the visitors spent within the gallery. Most visitors (65.6%) spent an average of £6.12 per person on food and drink and almost half of the visitors spent an average of £7.28 per person on shopping. Although the average spending on tours, events and activities, and venue hiring was higher compared with other categories, only a small number of visitors spent in the two categories (7.8% and 1.6%, respectively).

59 Figure 19. The percentage and average spending of visitors who spent

Table 8. Per person spending in The Lightbox

60 Table 9. Per person spending in the Local area

Table 10. Per person spending in the non-local area

Tables 9 and 10 report the proportion of visitors who spent and their average spending in the local area and the non-local area. Overall, 40.6% of the visitors spent in the local area, mainly on shopping (21.9%) and food and drink (18.8%), with an average spending of £15.36 and £14.92 per person, respectively. The spending patterns can be explained by The Lightbox’s location being in the town centre, close to retail shops, restaurants and bars. Only 7.8% of the visitors spent in the non-local area, on shopping, food and drink, and others.

61 3.5.4 Average Spending by Demographic Groups

To further analyse the spending pattern of visitors in different demographic groups, the average total spending of visitors who actually spent within the theatre, in the local area and non-local area are presented by demographic indicators in the following figures. It should be noted that, in the figures the percentage represents the proportion of visitors who did spend in the corresponding demographic group.

In terms of membership (as shown in Figure 20), visitors without any membership spent the most within the gallery with an average of £18 per person, whereas they did not spend much outside the gallery. Around half of the visitors who held the Individual Membership, Individual Plus and Joint membership spent an average of £16, £20 and £18 per person, respectively. Not many visitors spent in the non-local area. About 13% of the visitors with the Joint Membership spent an average of £15 per person in the non-local area, which is the greatest across all types of membership. All visitors with the Joint Plus membership and visitors without any membership did not spend in the non-local area during the trip to the gallery.

Figure 20. Average spending by membership

62 In terms of gender (as shown in Figure 21), female visitors tended to spend more within the gallery, and more male visitors tended to spend more in the non-local area. Although male visitors spent £8 more than female visitors on average, only 5% of the male visitors spent in the local area, whereas 40% of the female visitors consumed in the local area.

Figure 21. Average spending by gender

63 Over 95% of the visitors across all age groups under 75 spent an average of £10 to £15 per person within the gallery (see Figure 22). Relative fewer visitors (75%) who were 75 years old or above spent in the gallery, with an average spending of £11 per person. Around half of the visitors aged under 65 years old spent £10-£15 per person in the local area, whereas one-third of the visitors who were aged 65-74 years old spent the most with an average of £25 per person. Visitors aged 45-74 all had spent in the non-local area, while visitors under 45 and over 75 did not; Visitors aged 65-74 were more likely (17%) to spend in the non-local area than other age groups, and they spent more than other age groups, with an average of £8 per person.

Figure 22. Average spending by age

64 As for the highest level of qualification, visitors who held a Doctoral degree or equivalent are more likely to spend both within and outside the gallery. The average spending of those visitors is higher compared with visitors holding other qualifications, except for visitors who did not specify their highest level of qualification (see Figure 23).

Figure 23. Average spending by the highest level of qualification

65 Regarding employment, all visitors who were not retired spent in the gallery, whereas 10% of the retired visitors did not spend in the gallery. The visitors who were employed part-time spent the most on average in the gallery, followed by visitors who were retired. Most visitors who were self- employed (75%) spent an average of £9 per person in the local area, which is the lowest across all employment types. Except for visitors with other unspecified employment statuses, retired visitors spent the most with an average of £19 per person in the local area and £8 per person in the non-local area (see Figure 24).

Figure 24. Average spending by employment

66 Finally, in terms of income (as shown in Figure 25), many visitors preferred not to indicate their income level. Among the visitors who specified their income level, most visitors who eared £70,000 per annum or above tended to spend within the gallery (100%) and in the local area (50%) with an average spending of £11 per person within the gallery and £19 per person in the local area. Although the percentage of visitors who spent is slightly lower than the visitors who earned less than £35,000 per annum, the average per-person spending of those high-income visitors is £8 higher.

Figure 25. Average spending by income

67 3.5.5 Cluster Analysis

K-means clustering analysis has been conducted for the 64 respondents who visited The Lightbox so that each respondent in the sample belongs to the cluster with the nearest mean (i.e., average spending in this report). The characteristics that were used to cluster the respondents in this report are the spending in every individual category, total spending on-site, total spending in the local area, total spending in the non-local area and total spending overall. Figure 26 shows the radar chart of the spending in different categories by cluster, and clear spending patterns can be recognised. Figure 27 reports the distribution of visitors in the four clusters. From the radar chart and the pie chart, it can be seen that visitors in Cluster 1 tended to spend moderately on-site and locally, with 9 visitors included. Cluster 2 is the smallest group with only 5 individuals who tended to spend the most compared with visitors clustered into other groups, especially outside the gallery. Eleven visitors have been grouped into Cluster 3. From Figure 26, visitors in Cluster 3 show clear preference of spending on-site, particularly on food and drink as well as shopping. Cluster 4 is the largest, with 61% of the visitors included. Visitors in Cluster 4 were minimal spenders who nearly only spent on food and drink within the gallery. Figure 26. Radar chart of clusters

68 Figure 27. Distributions in different clusters

Table 11 reports the percentage of visitors who spent in different categories by cluster, and the average spending of those visitors, which shows consistent results with the radar chart. Over half of the visitors in Cluster 1 spent moderately on-site and in the local area, particularly on shopping as well as food and drink. With regard to the total spending within the gallery, in the local area and in the non-local area, the average spending of visitors in Cluster 2 is much higher than those of visitors in other clusters, especially outside the gallery. The percentage of visitors who spent outside the gallery is much higher than those of other clusters as well, with all visitors having spent in the local area, and 40% of the visitors having spent in the non-local area. Visitors in Cluster 3 preferred to spend on-site, and Cluster 4 includes the minimal spenders with the least average total spending within and outside the gallery.

After clustering the respondents into groups based on their spending, the demographic information of the visitors in the four clusters have been profiled as follows (as shown in Table 12). In terms of membership, non-members did not spend much outside the gallery. In Cluster 3 where visitors tended to spend only on-site, nearly half of them had no membership, and the rest of the on-site spenders held the Individual Membership or Individual Plus membership. Visitors in Cluster 1 tended to spend moderately on-site and locally, with half of the visitors holding the Individual Membership, and the rest holding Individual Plus and Joint Membership. The visitors who spent the most (Cluster 2) all held memberships (3 Individual Membership, 1 Individual Plus and 1 Joint Membership), which indicates that visitors who had not joined any membership yet tended to spend less during their visits. With regard to gender, not many female visitors spent much in the non-local area. On-site spenders were mainly female visitors (90.9%), and the minimal spender group (Cluster 4) is dominated by female visitors (61.5%). Visitors in different age groups spread relatively evenly in each group, except that over half of the minimal spenders were aged 45-54 years old. Given that the minimal spender group (Cluster 4) is the largest among the four clusters, most visitors aged 45 -54 years old spent minimally during their visits. Visitors with different levels of qualification again spread relatively evenly across clusters except Cluster 3 where most visitors had a Bachelor’s degree or equivalent (54.5%).

69 Table 11. Average spending of people who spent by cluster

70 Table 12. Percentage distributions of demographic variables of each cluster

71 In terms of the employment status, the minimal spender group (Cluster 4) included the largest proportion of retired visitors compared to the other groups. Given that Cluster 4 is the biggest, it can be concluded that most retired visitors tended to spend less during their visits, followed by visitors who were employed full-time. Finally, in terms of income, both Clusters 3 and 4 included mostly visitors who earned less than £35,000 per annum, which indicates that visitors with less income tended to spend less and mostly spend only within the gallery. As shown in Figure 28, the minimal spenders (Cluster 4) and those who visited friends and families travelled further compared to the other clusters.

3.5.6 Summary

Overall, the sample of The Lightbox visitors was gathered across different gender, age groups, education, employment status and income levels. Most respondents (95.3%) spent £12.49 per person on average within The Lightbox. Fewer visitors (40.6%) spent in the local area, but with a higher average spending of £16.02 per person. In addition, about 7.8% of the visitors spent in the non-local area, with the lowest average spending of £6.40 per person. In terms of individual categories of spending, most visitors tended to spend mainly on shopping as well as food and drink, both within and outside The Lightbox.

Apart from the economic benefits to the organisation itself, the operation of The Lightbox makes economic impacts both to the local economy as well as to the areas farther afield. The shopping and food and beverage departments of The Lightbox are likely to be generating the most direct impact. Retailing and hospitality sectors in the wider economies both locally and non-locally are likely to benefit from the economic impact of The Lightbox. On average, for every £10 on-site spending within The Lightbox, there may be £5.46 additional spending generated in the local area, and £0.42 further generated in the non-local area. Overall, the multiplier of the on-site visitor spending is 1.588. In other words, for every £10 spent in The Lightbox, an overall direct economic contribution of £15.88 is likely

to be generated, taking account of visitors’ total spending during the trip1².

2 The total economic impact would be larger when the indirect and induced effects are considered. 72 Figure 28. Map of the visitors’ location by cluster

With regard to the spending patterns of visitors, the 64 respondents have been clustered into four groups based on their spending in each category. Most visitors (61%) were minimal spenders who nearly only spent on food and drink within the gallery. Nine visitors were clustered into Cluster 1 and they tended to spend moderately on-site and locally. Eleven visitors were clustered into Cluster 3, with a clear preference of spending on-site, mainly on food and drink, as well as shopping. The smallest group of visitors included the five big spenders who tended to spend the most in most of the categories. 73 3.6 Watts Gallery - Artists’ Village’s Visitor Spending Patterns

After a major restoration recently, Watts Gallery – Artists’ Village has revived and seen up to 39,000 visitors every year, which benefit the surrounding local area. An online post-visit survey has been distributed to visitors from mid-May to early July and only 30 valid responses have been collected and used in the following analysis, to understand the visitor spending patterns in Watts Gallery– Artists’ Village, and the gallery’s economic impact on the surrounding area. It should be noted that the small sample size restricts the scope of the analysis.

Image: Watts Gallery - Artists’ Village, Andy Newbold Photography

3.6.1 Demographic Profile

The demographic information of the respondents based on the post-visit survey are listed in the following table. Among the 30 visitors, half of the visitors had no membership. Among the other half, different types of membership distribute fairly evenly. The sample is dominated by female visitors (86.7%). In terms of age, most visitors were 45-64 years old (70%). With regard to the highest level of qualification, visitors commonly held a degree below a Bachelor’s degree, a Bachelor’s degree or equivalent or a Master’s degree or equivalent. In terms of employment, visitors spread evenly across different employment types. Regarding income, most visitors (40%) earned less than £35000 per annum. 74 Table 13. Demographics of the sample (N = 30)

75 3.6.2 Behavioural Profile Figure 29. Visitors by the frequency of visits

Figures 29 and 30 report the behavioural profiles of the visitors. Over half of the visitors (67%) visited Watts Gallery – Artists’ Village on a regular basis according to Figure 29. They tended to visit 2-6 times every year. Half of the visitors went to the gallery mainly because of the gallery. About 23% of the visitors were attracted by Watts Contemporary Gallery, the Visitor Centre and the Shop. The Watts Chapel, the Watts Chapel, the Limnerslease and the Tea Shop were relatively less attractive (see Figure 30. Visitors by main purpose of visit Figure 30).

According to Figure 31, if the visitors had not visited Watts Gallery – Artists’ Village, one-third of the visitors would have stayed at home or gone to work. Alternatively, about 23% of the visitors would have gone to surrounding counties and 14% of them would have gone on a trip elsewhere in the UK. Thus, the economic impacts brought by the gallery to the surrounding area can be seen given that most visitors (70%) would not come to this area if the theatre was not located here. 30% of the visitors would still come to other places in Compton and villages nearby, or elsewhere in Surrey if they were not visiting the gallery. In terms of transportation (as shown in Figure 32), most visitors (90%) went to the gallery by car. Only a few visitors went to the gallery by bus, train, bicycle, taxi or walk.

76 Figure 31. Visitors by alternative activity

Figure 32. Visitors by transportation

Note: The percentage does not add up to 100% because some visitors used more than one transportation mode. 77 3.6.2 Average Spending

To describe visitors’ spending in different categories both within and outside the gallery, the percentage of visitors who spent and the average spending of those visitors are reported in Figure 33. On average, visitors spent £20.40 per person within the gallery. About 26.7% of visitors spent £69.22 per person on average in the local area. Although the smallest proportion (10%) of visitors consumed in the non-local area, their average spending was the greatest (£86.11 per person). Tables 14-16 report the consumption proportion in each category. Apart from tickets, most visitors (86.7%) spent on food and drink within the gallery with an average of £9.54 per person. Over half of the visitors (60%) spent on shopping within the gallery, with an average of £9.77 per person. None of the visitors spent on tours, events or activities, and venue hiring (see Table 14).

Figure 33. The percentage and average spending of visitors who spent

As shown in Table 15, not many visitors spent outside the gallery. In the local area, although the average spending of visitors who spent on shopping, food and drink and accommodation was high, only 16.7% of respondents spent on shopping, 13.3% on food and drink and 6.7% on accommodation. None of the visitors spent in cultural, leisure and entertainment in the local area. Fewer visitors spent in the non-local area, which refers to the area beyond a 30-minute drive from the gallery. Only 6.7% of visitors spent on shopping or food and drink, and 3.3% spent on accommodation or cultural leisure and entertainment in the non-local area. These spending patterns are well related to the rural location of the gallery. However, the average spending of visitors who spent in the non-local area was even higher than the average spending in the local area (see Table 16).

78 Table 14. Per person spending within Watts Gallery – Artists’ Village

Table 15. Per person spending in the local area

Table 16. Per person spending in the non-local area

79 3.6.3 Average Spending by Demographic Groups

To further analyse the spending pattern of visitors in different demographic groups, the average total spending of visitors who actually spent within the gallery, in the local area and non-local area are presented by demographic indicators in the following figures. It should be noted that the percentages in the figures represent the proportion of visitors who did spend in the corresponding demographic group.

As shown in Figure 34, all visitors spent on-site despite the types of membership held. Visitors with Family Membership spent the most (£34 per person) but did not spent outside the gallery. Visitors who held a Single Membership did not spend outside the gallery as well. Half of the visitors with the Friend and Guest Membership and Utmost Friend spent in the local area, with an average spending of £23 and £15 per person, respectively. About 27% of the visitors who were yet to any membership spent the most (£116 per person) in the local area. Only visitors who held Friend and Guest Membership and visitors with no membership spent in the non-local area. Relatively more visitors with Friend and Guest Membership (25%) spent in the non-local area with a lower average spending (£50 per person). About 13% of the visitors without any membership spent £104 per person on average in the non-local area.

Figure 34. Average spending by membership

80 Figure 35. Average spending by gender

In terms of gender (as shown in Figure 35), male visitors spent more than female on average in the gallery and in the local area. However, 12% of the female visitors spent £83 per person on average in the non-local area, whereas none of the male visitors spent in the non-local area.

81 Figure 36. Average spending by age

With regard to age (as shown in Figure 35), all visitors across different age groups spent within the gallery, with visitors aged 65-74 years old having spent the most on average (£29 per person). Most visitors aged 55-64 years old spent in the local area (45.5%) and in the non-local area (18%), with an average spending of £82 per person in the local area and £128 per person in the non-local area. Visitors in other age groups did not spent in the non-local area, except for 10% of the visitors aged 45-54 years old who spent £3 per person on average in the non-local area.

82 Figure 37. Average spending by the highest level of qualification

According to Figure 37, all visitors with different levels of qualification spent consistently in the gallery with an average of about £20 per person. Most visitors with a Bachelor’s degree or equivalent (46%) spent in the local area, but with the least average spending of £20 per person. Only visitors with a Bachelor’s degree or equivalent (27%) spent in the non-local area with an average of £86 per person.

83 Figure 38. Average spending by employment

In terms of employment, visitors who were on a full-time employment basis spent the most within the gallery, with an average spending of £20 per person. About 33% of the full-time employed visitors and 40% of the retired visitors spent the most on average in the local area (£94 and £98 per person, respectively). A good proportion of self-employed visitors (29%) spent the most (£128 per person) in the non-local area on average. Apart from self-employed visitors, 11.1% of full-time employed visitors spent about £3 per person on average in the non-local area.

84 Figure 39. Average spending by income

Finally, with regard to income, most visitors who earned £35,000-£49,999 per annum spent the most in the local area (£138 per person), and the nonlocal area (£205 per person). About 33.3% of the visitors who earned £50,000-£69,999 per annum spent the second-most in the local area, with an average spending of £98 per person. About 8.3% of the visitors who earned less than £35,000 per annum spent £50 per person on average in the non-local area and one-fourth of the visitors who earned £70,000 per annum or above spent £3 per person in the non-local area on average. Visitors in the other two income level groups did not consume in the non-local area (see Figure 38).

85 3.6.4 Cluster analysis

K-means clustering analysis has been conducted for the 30 respondents who visited Watts Gallery – Artists’ Village so that each respondent in the sample belongs to the cluster with the nearest mean (that is, average spending in this report). The characteristics that were used to cluster the respondents in this report are the spending in every individual category, total spending on-site, total spending in the local area, total spending in the non-local area and total spending overall. Figure 40 shows the radar chart of the spending in different categories by clusters and clear spending patterns can be recognised from the plot. Due to the small sample size, the clustering results were not very balanced, with a large group including most respondents, and two relatively smaller groups. Figure 41 reports the distribution of visitors in the three clusters, Cluster 1 is the largest group with 25 visitors, with minimal spending only on-site. Three visitors are grouped into Cluster 2 and they tended to spend moderately on-site, in the local area and spend the most in the non-local area. Cluster 3 represents the big spender group, with 2 visitors who spent the most both on-site and locally³. 2

Figure 40. Radar chart of clusters

3 Due to the small sample size, the results should be interpreted with caution. 86 Figure 41. Distributions in different clusters

Table 17 reports the percentage of visitors who spent in different categories by clusters, and the average spending of those visitors, which shows consistent results with the radar plot. Visitors in the largest group (Cluster 1) spent the least on average both within and outside the gallery. They mostly spent on food and drink as well as in the shop within the gallery. The big spender group spent the highest (£177.50 per person) in the local area. And the three visitors in Cluster 2 spent moderately on-site and in the local area, and spent the most (£127.50 per person) in the non- local area. Geographically, as shown in Figure 42, the two big spenders in Cluster 3 travelled farther than visitors in the other two clusters.

Table 17. Average spending of people who spent by cluster

87 Figure 42. Map of the visitors’ location by cluster

88 3.6.5 Summary

Image: Raymond Booth 1929-2015: Detailing Nature at Watts Contemporary Gallery, Andy Newbold Photography

Overall, the respondents who visited Watts Gallery – Artists’ Village were from different gender, age groups, educational background, employment status and income levels. All visitors spent within the gallery, with an average spending of £20.40 per person. About 26.7% of the visitors spent £69.22 per person on average in the local area. Although a smaller proportion of visitors (10%) also spent in the non-local area, the average spending of those visitors was much higher with an average of £86.11 per person. In terms of individual categories of spending, visitors mainly spent on food and drink as well as shopping both within and outside the gallery.

In terms of the economic impact, the visitors to Watts Gallery – Artists’ Village contribute not only to the gallery itself, but also to the wider local and non-local economies where business sales revenue and employment in the food and beverage and retailing sectors are likely to benefit the most. Visitors’ on- site spending patterns show that food and drink, shopping and admission are the main areas generating direct effects. Based on the survey results, for every £10 on-site spending within the gallery, there would be £9.06 spending generated in the local area, and £4.22 further generated in the non-local area. Overall, the multiplier of the on-site visitor spending is 2.328. In other words, for every £10 spent in Watts Gallery – Artists’ Village, an overall direct economic contribution of £23.28 is likely to be generated, taking account of visitors’ total spending during the trip⁴ .3

With regard to the spending patterns of the visitors, the 30 respondents have been clustered into three groups based on their spending in each category. Twenty-five out of 30 visitors were minimal spenders and only spent within the gallery. Three visitors were clustered into Cluster 2 and they spent moderately on-site and in the local area. And two visitors were big spenders who spent the most, especially in the local area. It should be noted that the results should be interpreted with caution due to a very small sample size.

4 The total economic impact could be larger when the indirect and induced effects are considered. 89 4 Conclusions.

Image: Yvonne Arnaud Theatre, Paul Stead 90 4 Conclusions

Image: William Orpen: Method & Mastery at Watts Gallery - Artists’ Village, Andy Newbold Photography

The invaluable contributions of arts to further reflected by Arts Council England and communities and wider society have been well the Arts and Humanities Research Council as the recognised. In addition to the direct and indirect benefits of such engagement were outlined as, economic contributions realised by the sector to including, but not limited to: positive physiological local, regional and national economies, strategic and psychological health, reducing time spent in directions also highlighted the role of arts and hospital, improved mental health, and higher levels culture in the development of education, health of life satisfaction. Indeed, Arts Council England and well-being and community cohesion. (2016) enforced such assertion, stating that In particular, the DCMS White Paper of 2016, people within communities who engage with arts emphasised the role of arts in promoting and culture were 60% more likely to report good stronger, healthier communities and outlined the health than those who had not. The social impacts importance of communities actively engaging of arts extend beyond health and wellbeing and with the arts and culture sector to facilitate is intrinsically linked to community, identity and improvements in wellbeing. This position was social inclusion (DCMS, 2016), strengthening

91 Image: The Lightbox Gallery & Museum Private View, © The Lightbox community relationships, social cohesion and ways in which organisations are able to reach out social justice, and realising improvements in to wider audiences and reach demographics within educational attainment (ACE, 2018). communities who would otherwise potentially be unable to realise the benefits that the arts and Given the direct correlation between the arts and culture sector may realise. culture and community health, greater investments have been made in this field and, over recent years, In doing so, this report draws upon research there has been an increase in the number of arts conducted between March and July 2020. The organisations engaging in community engagement aim of the research was to design and develop and participation initiatives. Recognising the an economic and social impact analysis of arts central role of arts in improving community in Surrey. The research brought together three health and wellbeing, this report has sought to leading arts organisations in Surrey, namely: provide a unique overview of not only the social Yvonne Arnaud Theatre (lead project partner), impacts of art and culture across Surrey, but The Lightbox and Watts Gallery – Artists’ Village, has adopted a holistic perspective that analyses therefore enabling insights beyond individual this alongside the economic impacts that the organisations to provide insights into the sector also brings to communities. In doing so, it culminative impacts of arts across the county. Both provides an insight not only into the range of visitor the project team and project partners recognise demographics, associated spending patterns and that the research does not provide a holistic resulting economic investments by visitors into overview, but rather serves as an indicative insight the local and regional locales surrounding arts into what is currently being realised. organisations, but also provides insight into the 92 The research was conducted in two parts activities that directly increase community with a literature review conducted across engagement with arts. Ranging from individual both economic and social impacts of arts. to group activities, from half-day workshops Part one then focused on the social impacts to on-going large-scale projects, tours to talks, of arts. A qualitative research design was weekly courses to live performance activities, adopted for data collection which included 8 there is a significant range of activities that interviews with partner arts organisations and are proactively designed to bring community community partners. These were supplemented members into arts spaces. Likewise, the range with secondary data analysis of available of audiences is equally diverse with activities for organisational reports and a netography of social individuals, families, private groups, community media content from official sites of partner groups, schools, amongst others. In particular, organisations. Analysis of data was completed communication and collaboration with key using thematic analysis and the development partners ensures that projects are designed to of primary and secondary coding structures. connect with the needs of vulnerable groups and Part two focused on the economic impacts of those who would otherwise remain physically arts. Data were collected through the post-visit distanced from the arts sites. Key to these online surveys for each of the three partner is understanding the range of community organisations. The survey included three parts: needs and identifying the ways in which arts visitors’ past visits to the art organisations, organisations and the specialist knowledge and visitors’ spending during a recent trip to the art expertise they can offer may support the social organisation prior to February 2020, and lastly, inclusion, health and wellbeing, education and demographic information on visitors. In total, creation of community identity within the region. 276 valid responses were received for Yvonne Arnaud, 64 for The Lightbox and 30 for Watts 4.1.1 COVID-19: Connecting with Gallery – Artists’ Village. Communities During Times of Crisis 4.1 The Social Impacts of As research was conducted during the on-going COVID-19 pandemic, findings also indicate the Arts in Surrey challenges that arts organisations have faced during this challenging time. As face-to-face Research findings evidence a wide range projects and initiatives were no longer possible of projects and initiatives available within and both arts organisations and community partner organisations that have community partner organisations turned attention to engagement as their principal purpose. This business critical issues, alternative solutions report has highlighted the range of ways through were sought to ensure continued connectedness which partner organisations are able to create and social impact during lockdown. supported spaces through collaboration and partnership to provide opportunities for Key to this was the repositioning of programmes engagement for community members both as and activities online. Whether through ‘Watts individuals and groups. In doing so, there is clear at Home’ or ‘Lightbox at Home’ initiatives via evidence that such initiatives are embedded organisational websites. Organisations provided in, and align to, the key social impact drivers a range of activities and ideas of ways to stay of community identity, health and wellbeing, creative at home. However, it was recognised education and skills development, social that reliance on digital platforms brought inclusion, social justice and spirituality. challenges, particularly to those most vulnerable in communities, many of whom are the core It is clear from research findings, that arts audience for such initiatives. The intense organisations offer a wide range of engagement physical relationship of arts programmes created 93 Image: International Women’s Day at Watts Gallery - Artists’ Village, Andy Newbold Photography challenges that resulted in limited engagement potential for wellbeing work and programmes with online activities, including but not limited as a direct result of COVID-19. As such, while to: access to required technology (independent arts organisations continue to recognise the or supported), technological knowledge and importance of physical delivery of programmes associated capabilities and confidence in and initiatives, experiences during COVID-19 engaging with such opportunities. As many highlight the vital need to revise the offer of initiatives rely upon face to face individual programmes and initiatives and consider and/or group meetings through supported the need for hybrid solutions to community engagement with arts, this combined with limited engagement that extend across both physical resource capability and the long-term financial and digital engagement platforms. Central to this challenges organisations will face as a direct will be the creation of further collaborations and result of COVID-19 related closures, has resulted partnerships across communities that ensure in significant depletion in the opportunities the range, breadth and format of engagement available to community partner organisations, required across different community sectors as their members and the wider community. arts organisations revise operating models in a socially distanced world. 4.1.2 Ensuring Community Engagement: Hybrid Digital-Physical 4.2 The Economic Impact Solutions, Collaborations and Partnerships for Social Impact of Arts in Surrey Based on an online survey with the three arts Nevertheless, findings did show that arts organisations’ past visitors, this part of the organisations and community partner project reveals that the three art organisations organisations recognise the significant share similar visitors spending patterns and 94 economic impacts on the surrounding areas. the spending diminishes in the non-local area Besides the economic benefits to the three because not many visitors came to The Lightbox organisations themselves, the operations of by car. Watts Gallery – Artists’ Village is a rural Yvonne Arnaud, The Lightbox and Watts Gallery visitor destination. Most visitors drove to Watts – Artists’ Village contribute economically to Gallery – Artists’ Village and stayed locally for the local and non-local areas, respectively. a relatively longer period of time, which makes In general, for every £10 of visitors’ on-site their local economic impacts greater, but less spending within the art organisations, a further frequently. The average spending in the local economic contribution of £3.91 to £13.28 are area and non-local area is much greater than the likely to be generated in the local and non- on-site spending. But again due to a very small local areas, and most of this economic benefit sample size, the results should be interpreted is maintained in the local economies. The with caution. admission and food and beverage departments tend to be the main drivers of the direct impact for the three organisations. In the local area, 4.3 Limitations the shopping and food and drink sectors are likely to benefit the most from the three It should be noted that due to the COVID-19 organisations through their visitors’ further pandemic and strict national lockdown (23rd of consumption in the local area during the same March 2020 to 13th May 2020) and subsequent trip to the art venue. Although the economic easing of lockdown, significant challenges impact diminishes in the areas farther from have been faced in data collection. Due to the organisations, food and beverage sectors participating organisations being forced to close are still likely to be benefited economically their doors and visitors therefore being unable from the three art organisations. Meanwhile, to be physically present at sites, the response according to the post-visit survey, nearly 70% rates for the economic impact surveys were of the visitors would not have come to the area below expectations and sample sizes restricted where the three art organisations are located if the estimation of full economic impacts (i.e. the art organisations were not in the area, which the supplier effect). As such, the report focuses indicates the importance of the existence of on direct impact (i.e. the consumer effect). these art organisations and the contributions to The estimated visitor spending patterns their local economies and beyond. were based on the small numbers of survey responses, which may affect the accuracy of the Among the three art organisations, visitors have estimation, and therefore the numerical results shown some different spending patterns, due should be interpreted with caution. Likewise, the to their different types of art organisations as social impact analysis provides an overview of well as their unique locations. Visitors of Yvonne the range of community engagement initiatives Arnaud Theatre are most likely to come for a undertaken by each participating organisation. specific show. Thus most visitors (92.8%) visited However, further detail on the direct benefits the theatre mainly because of the theatre itself. of such engagement to participants was not Most visitors went to the theatre by car, and available due to many staff in both participating tended to return home right after the show organisations and community partner (often in evenings), without much spending organisations being furloughed, or experiencing outside the theatre. Because the location of understandable pressures on time which made The Lightbox is within walking distance from participation impossible. A broader range of the Woking station, visitors came by train need interviewees would potentially offer richer and to walk through the town centre before arriving deeper insights and wider perspectives of the at the theatre and on their return, therefore social impacts of the arts organisations. having more opportunities to spend locally. But

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