Cultural Access & Participation

Demography of concert visitors in Europe
Demography of concert visitors in Europe

All cultural activities have market-based, volunteer and recreational forms.  Our surveys focus on the market of cultural products which is usually analyzed in an Entertainment&Media (US) or Audiovisual &Media (EU) context.  Our surveying methodology follows the recommendations of ESSnet-Culture which in turn builds heavily on the ICET model developed in the Netherlands.

Our surveys are heavily focusing on transactions related to acquisitions (buying, subscriptions, private copying and piracy) because these are the most direct demand drivers and constraints for the local E&M markets.

Participation is a very important indicator of the cultural supply which is in turn analyzed in-depth with our industry-specific supply-side surveys.  The number of people with learned music listening, instrumental playing and singing skills and composition experience are the possible creative supply of the music industry. People with an appreciation of cinema and an experience in photography, video or theatrical performance are the labor supply of the audiovisual industry.

Cultural participation in Central and Eastern Europe is particularly skewed towards the younger generations. Whenever possible, we try to collect data within the limits of EU research rules at the earliest age. Non-adults, especially teenagers are one of the most important consumers in the music and cinema markets.

The live music markets of Central and Southeastern Europe are emerging markets with very different demography, habits and purchasing power than mature Northwestern European markets.  You can find a very detailed analysis of the Hungarian concert and festival market in the ProArt Music Industry Report created with CEEMID datasets.

Country and industry specific data about the music, audiovisual and film industries in Central Europe.

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