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Thesis Template Segmentation Models for Arts Public Relations: Finding an Audience for Opera by Christina Raphaëlle Haldane A thesis submitted in conformity with the requirements for the degree of DMA in Voice Performance Faculty of Music University of Toronto © Copyright by Christina Raphaëlle Haldane 2019 Segmentation Models for Arts Public Relations: Finding an Audience for Opera Christina Raphaëlle Haldane DMA in Voice Performance Faculty of Music University of Toronto 2019 Abstract How are non-profit boutique opera companies with limited operational budgets targeting and engaging with their publics? This question must be answered if these opera companies are to maintain relevance against an evolving landscape of financial instability, numerous entertainment options, and varied communication techniques. My starting point is that establishing strong connections between non-profit boutique opera companies and their current and potential audiences is essential, to both artistic and financial longevity. Segmentation can provide a successful tool for public relations practice, by targeting these audiences and tailoring communications and engagement activities accordingly. The research I undertook explores the possible use of segmentation by non-profit boutique opera companies in their public relations activities: first in a general discussion of segmentation, public relations and marketing, as related to non-profit arts organizations, and in particular non-profit boutique opera companies, then in a discussion about how Ontario’s and Canada’s population engages with the arts. I also explore the existing non-profit boutique opera company scene in Toronto. Based on a qualitative field study with non-profit boutique opera companies located in Toronto, I document their means of communication in reaching out to their current and potential audiences, and the issues and successes met. I also document planning schedules, mission statements and personal involvement. Drawing from these findings and my literature review, I present an overview analysis and outline potential administrative and audience-building strategies for non-profit boutique opera companies. Findings from the qualitative study indicate that the non-profit boutique opera companies use segmentation in an informal way to reach out to various identified audiences. Personal ii relationships and the use of advocates become important to maintaining their core and specific audiences. Imaginative ways are deployed to reach out to new audiences. Their reaching out to audiences is at the centre of a web of activities where administrative and personal dynamics enter into play so that these non-profit boutique opera companies can survive. The findings provide rich and detailed data on how these non-profit boutique opera companies navigate their landscapes so that their artistic creativity can be appreciated by audiences. WORD COUNT: 339 iii Acknowledgments I wish to thank my supervisor, Dr. Darryl Edwards, for providing continued emotional and intellectual support throughout the process of researching and writing my thesis. I greatly appreciate the thoughtful guidance and expertise provided by my doctoral committee, Dr. Jeff Packman, Dr. Ellen Lockhart and Mr. Andrew J. Kwan, director of Andrew Kwan Artist Management. Omissions or errors are my sole responsibility. I also wish to thank the participants in my research study for their valuable insights, creativity and time. All relevant data is contained within the manuscript. Conflict of Interest Statement I hereby declare that the submitted work was not carried out in the presence of any personal, professional or financial relationships that could potentially be construed as a conflict of interest. iv Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .............................................................................................................................v List of Tables ...................................................................................................................................x List of Appendices ......................................................................................................................... xi Chapter 1 Introduction and Methodology ........................................................................................1 Introduction and Methodology ....................................................................................................2 1.1 Introduction ..........................................................................................................................2 1.1.1 Personal Setting for this Research Study .................................................................2 1.1.2 Conceptual Setting for this Research Study.............................................................3 1.2 Methodology for the Field Study .........................................................................................7 1.2.1 Research Questions ..................................................................................................7 1.2.2 General Approach and Ethics Requirements ...........................................................7 1.2.3 Procedural Matters ...................................................................................................9 Chapter 2 Literature Review I: Reaching Out to Opera’s Audiences ............................................11 Literature Review I: Reaching Out to Opera’s Audiences........................................................12 2.1 Introduction ........................................................................................................................12 2.2 Segmentation......................................................................................................................12 2.3 Segmentation for the Arts in Canada .................................................................................14 2.4 Public Relations .................................................................................................................15 2.5 Marketing and Public Relations for Non-Profit Organizations .........................................16 2.5.1 Marketing in General .............................................................................................16 2.5.2 Marketing for Non-Profit Arts Organizations........................................................17 2.6 Planning in Public Relations ..............................................................................................18 2.7 Social Media ......................................................................................................................19 2.8 Digital Tools for the Arts ...................................................................................................21 v 2.9 Maintaining an Authentic Voice ........................................................................................25 2.10 People’s Appreciation for the Arts ....................................................................................25 2.11 New and Unlikely Spaces for Arts Performances..............................................................26 2.12 Audience Engagement in the Arts .....................................................................................27 2.12.1 Adult Population in Ontario and Canada ...............................................................27 2.12.2 Young Audiences ...................................................................................................30 2.12.3 Opera Audiences ....................................................................................................34 2.13 Concluding Remarks ..........................................................................................................36 Literature Review II: Locating Boutique Opera .......................................................................39 3.1 Introduction ........................................................................................................................39 3.2 Staging: Musical Scenes, Persona and Genres ..................................................................39 3.3 An Alternative Music Scene ..............................................................................................42 3.4 Backstage: Canada’s National Opera Scene ......................................................................45 3.5 Main Act: Toronto’s Alternative Opera Scenes, Boutique Opera at a Glance ..................46 3.6 Concluding Remarks ..........................................................................................................58 Boutique Opera on the Ground: Background and Identity .......................................................64 4.1 Introduction ........................................................................................................................64 4.2 Background Information ....................................................................................................64 4.3 Organizational Identity ......................................................................................................68 4.3.1 Organizational Goals and Mission .........................................................................68 4.3.2 Organizational Brand and Image ...........................................................................70 4.4 Concluding Remarks ..........................................................................................................72
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