ARTRAGE is one of Western Australia's oldest and most prominent arts organisations. Established in 1983, ARTRAGE has developed and presented numerous key cultural events and festivals that enrich and evolve the culture of Western Australia. ARTRAGE produces the FRINGE WORLD Festival, Rooftop Movies, and selected shows that tour WA.
FRINGE WORLD Festival is the largest activity operated by ARTRAGE. The festival is Perth's massively popular open-access multi-arts festival that is enjoyed annually by hundreds of thousands of people. The incredible array of entertainment presented at the FRINGE WORLD Festival offers something for everyone, from comedy, music and musicals, circus, and much, much more.
The 2023 Festival was held from 20 January – 19 February welcoming back international artists. The exciting program attracted over 564,000 attendees across its free and ticketed activities, engaging 2,522 artists across the festival.
ARTRAGE engaged Culture Counts to evaluate FRINGE WORLD Festival, Rooftop Movies, as well as to assess the economic impact of its three major activities. The evaluation was conducted by surveying members of the public. Surveys were delivered through intercept interviews organised by Culture Counts and distributed by ARTRAGE. In partnership with Culture Counts, this survey was designed and developed to evaluate the strategic goals and outcomes of ARTRAGE.
1,764 responses were collected from public attendees via online delivery links sent to the email addresses of ticket holders.
Each survey contained a range of 'dimension' questions, asking stakeholders about their experience of the event. These dimensions have been developed and tested in collaboration with industry, practitioners, and academics to measure the impact and value of arts and cultural events and activities.
Appropriate dimensions were chosen based on their alignment with FRINGE WORLD Festival's strategic objectives. In 2021/22 a new social dimension 'Connection' was added to the public assessment. The following tables list the dimensions used in the evaluation based on the type of survey respondent.
| Domain | Dimension | Dimension Statement |
|---|---|---|
| Social | Access | It gave me the opportunity to access activities I would otherwise not have access to |
| Connection | It helped me to feel connected to people in the community | |
| Safe | It made me feel safe and welcome | |
| Wellbeing | It helped me to enjoy a greater quality of life | |
| Quality | Captivation | It held my interest and attention |
| Distinctiveness | It was different from things I've experienced before | |
| Presentation | It was well produced and presented | |
| Cultural | Meaning | It moved and inspired me |
| Relevance | It gave me a better understanding of today's world | |
| Place | Place | It made me feel proud of my local area |
| Domain | Dimension | Dimension Statement |
|---|---|---|
| Social | Safe | It made me feel safe and welcome |
| Wellbeing | It helped me to enjoy a greater quality of life | |
| Quality | Captivation | It held my interest and attention |
| Presentation | It was well produced and presented | |
| Cultural | Meaning | It moved and inspired me |
| Relevance | It gave me a better understanding of today's world |
| Domain | Dimension | Dimension statement |
|---|---|---|
| Quality | Presentation | It was well produced and presented |
| Distinctiveness | It was different from things I've experienced before | |
| Rigour | It was well thought through and put together | |
| Risk | The artists were not afraid to try new things | |
| Place | Place | It made me feel proud of my local area |
Dimensions are assessed on a Likert scale, in which respondents move a slider to a point that indicates whether they agree or disagree with the dimension statement. An example of a dimension question in the Culture Counts survey tool is presented below.
FRINGE WORLD Festival and Rooftop Movies attendees were asked to provide their age and gender identity. This data identifies the demographic sample of people who responded to the survey and attended the event. It enables data to be matched to the wider population and responses to be filtered to understand differences in demographics.
The following charts show the proportion of survey responses captured for each of the age and gender questions in aggregate and by survey.
The largest proportion of public respondents was the 50-59 year cohort (22%), followed by 30-39 (20%). 19% of respondents were in the 40-49 and over 60 age groups, while those aged 20-29 made up 17% of the sample. Only 3% of the sample was under 20.
26% of FRINGE WORLD respondents were aged between 50 and 59. This was followed by those over 60 (24%), 40-49 (20%), and 30-39 (19%). 10% of the sample were aged between 20 and 29 and 2% were under the age of 20.
Rooftop Movies respondents were mostly made up of those aged 20-29 (43%). This was followed by the 30-39 (23%) and 40-49 (16%) age cohorts. 9% of respondents were under 20, 7% were aged between 50-59 and 1% were over 60.
The majority of the aggregate sample identified as female (77%). 22% were male with the remaining 1% identifying in another way. Comparing the surveys, gender distribution remained consistent with the aggregate results. Rooftop Movies respondents had a larger proportion of female (83%) respondents as well as those who identify in another way (2%).
FRINGE WORLD Festival and Rooftop Movies attendees were asked to provide their current living location and postcode. This enables data to be matched to the wider population and responses to be filtered to understand differences in demographics.
The following charts show the proportion of survey responses captured for those who identified their living location and top postcode results by program and in aggregate.
Overall, most respondents reside 'Elsewhere in the Perth Metro Area' (74%). 19% live within the City of Perth, 2% live elsewhere in WA, 3% reside interstate, and 2% of the sample were from overseas.
75% of FRINGE WORLD Festival respondents live in the Perth Metro Area, 19% in the City of Perth, while interstate, and overseas visitors made up 1% or less of the sample each. Compared to the festival, Rooftop Movies had a larger proportion of respondents that live within the City of Perth (30%), but a smaller number of those living elsewhere in the Perth Metro (19%) and no interstate and overseas residing respondents.
Respondents travelled from all over the Perth Metropolitan Area to attend ARTRAGE events, with Perth (3.5%) being the most cited postcode, followed by Bibra Lake (2.7%), Churchlands (2.7%), and Tuart Hill (2.6%).
Respondents were asked to indicate whether this was their first-time attending FRINGE WORLD Festival. Responses can be seen presented in the chart below.
Almost the entire sample of respondents (93%) indicated that they had attended FRINGE WORLD Festival in previous years, with the remaining 7% being first-time attendees. This demonstrates a high level of return attendees while continuing to attract new audiences.
Survey respondents moved a slider to indicate whether they agreed or disagreed with the included dimension statements concerning the festival. The following charts contain the response data for 'public' responses, showing the average result for each dimension.
Respondents were asked to name a show or performance they recently attended as part of FRINGE WORLD Festival and were asked to consider that experience as part of the survey response. This evaluation methodology was tested in 2021 and 2022.
The Culture Counts platform provides various methods to capture survey responses at a minimal marginal cost. Achieving larger samples enables organisations to be more confident about the average results and that opinions of the survey respondents are representative of all attendees. The accompanying margin of error chart shows the expected differences for the associated dimension results calculated at a 95% confidence level.
Of all 10 dimensions measured, 'Captivation' (87/100), 'Presentation' (85/100), and 'Safe' (80/100) received the highest average results overall. This indicates that respondents were most likely to agree that the event they attended held their interest and attention, that it was well produced and presented, and that it made them feel safe and welcome.
'Distinctiveness' (77/100), 'Wellbeing' (74/100), and 'Access' (74/100) also scored highly, indicating that respondents were also likely to agree that it was different from things they have experienced before, it helped them to enjoy a greater quality of life, and it gave them the opportunity to access activities they would otherwise not have access to.
'Meaning' (69/100) and 'Relevance' (60/100) received the lowest average scores, indicating that of all comparable dimensions, respondents were less likely to agree that the event they attended moved and inspired them or that it gave them a better understanding of today's world.
At a 95% confidence level, the margin of error for dimensions ranged from 1.0% to 2.0%. This means that we can be 95% confident that if we surveyed the entire visitor population, the average outcome for 'Connection' would fall within 2.0% of the average generated by the sample.
Culture Counts' use of slider questions provides the capability to understand response results within a typical 5-point agree-to-disagree scale.
The following charts contain the response data for 'public' responses. The first chart shows the percentage of people that agreed or disagreed with each of the statements, using a 5-point ordinal Likert scale.
The second chart shows the interquartile range of responses for each dimension. These ranges represent the middle 50% of responses, which are areas on the slider where most responses typically fell. Accompanying this range is the median result for each dimension (i.e. the most common response). Smaller ranges indicate similarity in agreement between respondents, whereas larger ranges indicate a wider spread of responses.
'Captivation' (92%) and 'Presentation' (91%) received the highest levels of overall agreement. This indicates that most respondents agreed that the event they attended held their interest and attention and that it was well produced and presented.
'Relevance' (48%) received the lowest level of overall agreement, suggesting that respondents were least likely to agree that the event gave them a better understanding of today's world.
'Captivation' had the smallest interquartile range suggesting that there was little variation in the result for this statement, from the perspective of respondents. 'Wellbeing', 'Access', 'Place', and 'Meaning' had the largest interquartile ranges, indicating that responses to these statements were the most varied out of all comparable dimensions. Given that respondents were asked to consider the performance they had experienced when responding, this could suggest that results are more likely to be affected by this variable.
Sunday Funday is a free event hosted and organised by ARTRAGE as part of FRINGE WORLD Festival. Attendees at this event were asked a smaller set of dimension questions about their experience.
Survey respondents moved a slider to indicate whether they agreed or disagreed with the included dimension statements concerning the event. The following charts contain the response data for 'public' responses, showing the average result for each dimension.
The Culture Counts platform provides various methods to capture survey responses at a minimal marginal cost. Achieving larger samples enables organisations to be more confident about the average results and that opinions of the survey respondents are representative of all attendees. The accompanying margin of error chart shows the expected differences for the associated dimension results calculated at a 95% confidence level.
Of the five dimensions measured, 'Wellbeing' and 'Place' received the highest average scores overall (both 76/100). This indicates that respondents were most likely to agree that the event helped them to enjoy a greater quality of life and made them feel proud of their local area. Despite producing a positive average agreement, 'Connection' (70/100) received the lowest average score, indicating that of all comparable dimensions, respondents were least likely to agree that the event they attended helped them to feel connected to people in the community.
In terms of overall agreement, 'Wellbeing' (86%) and 'Captivation' (82%) received the highest results, suggesting that respondents were most likely to agree that the event helped them to enjoy a greater quality of life and it held their interest and attention. 'Connection' also received the lowest level of overall agreement, while producing an overall agreement level of 75%. 'Access' showed the largest interquartile range suggesting there was more variation in results for this statement.
Respondents were asked about their overall experience of attending FRINGE WORLD Festival, with a choice of five options - Excellent, Good, Neutral, Poor, and Terrible. This chart shows the percentage of respondents that rated the event across these five options.
Almost the entire sample (94%) reported having a positive experience overall, an outstanding result. Of this, 69% had an excellent experience and 25% reported their experience as being good. 3% of respondents reported having a neutral experience, 2% a poor experience and less than 1% indicated that their experience was terrible.
Respondents were asked whether they would recommend FRINGE WORLD Festival to a friend or colleague. Respondents could choose a number from 0 to 10 from a menu, with 0 meaning 'not likely at all' and 10 meaning 'extremely likely'.
These results can be used to calculate a Net Promoter Score (NPS). NPS is a standardised metric that seeks to measure loyalty between an organisation and its audience. Respondents with a score of 9 or 10 are considered 'Promoters'. 'Detractors' are those who respond with a score of 0 to 6. Scores of 7 and 8 are considered 'Passives'.
NPS is calculated by subtracting the percentage of respondents who are Detractors from the percentage of customers who are Promoters. This means that an overall Net Promoter Score can range from -100 to +100.
This chart shows the proportion of respondents that would or would not recommend FRINGE WORLD Festival, followed by the calculated NPS below.
Over three-quarters (79%) of respondents scored the festival either 9 or 10, indicating they would be classified as Promoters. 15% of respondents scored passive results (7 or 8) and less than 6% would be considered detractors (scoring between 0-6).
A positive NPS (i.e. higher than zero) is felt to be good, and an NPS of 50+ is excellent. FRINGE WORLD Festival's NPS of 73 shows an excellent level of visitor loyalty and a high likelihood of recommendations to friends and colleagues.
In 2023, ARTRAGE introduced the Industry Delegate Program which invited key global producers, theatre makers, and promoters to the festival. This provided artists with an opportunity to network and discuss how to tour their work internationally with international experts.
Delegates were asked to move a slider to indicate whether they agreed or disagreed with the included dimension statements concerning their experience with FRINGE WORLD Festival. The following charts contain the response data for Delegate responses, showing the average result for each dimension.
Of the six dimensions measured 'Captivation' (97/100) received the highest average agreement. This indicates that Delegate respondents were most likely to agree that it held their interest and attention. This was followed by 'Wellbeing' (91/100), 'Safe' (90/100), and 'Meaning' (85/100). While still positive, 'Relevance' (75/100) and 'Presentation' (68/100) produced the lowest average agreement. This demonstrates that respondents were least likely to agree that it gave them a better understanding of today's world and it was well produced and presented.
Dimensions used in this evaluation were also measured in previous years. This consistent use of measurement allows organisers to benchmark their results and track progress in achieving strategic outcomes over time.
The following chart compares the average result of dimension responses for previous years.
Of the nine comparable dimensions, eight dimensions received higher average dimension scores in 2023 than in both 2022 and 2021, a fantastic result. 'Captivation' saw the most improvement in 2023, receiving a score that was +3/100 higher than in 2022. 'Place' was the only dimension average that decreased in 2023.
As part of the evaluation methodology, ARTRAGE staff and sector peers were asked to conduct a 'Prior' survey before the festival commenced. The purpose of the Prior survey is to record the performance expectation of both the staff who are responsible for delivering the event, as well as of sector peers, who are aware of the event and expect to experience it.
After the event, respondents are also asked to conduct a post-event survey. With this survey, prior expectations can be compared to the achieved results. When also compared to public survey responses, this information provides organisers with an effective tool to triangulate results, investigate differences and reflect on their achievements and learnings.
Comparing peer and self respondents, self assessors produced lower levels of agreement across all dimensions in the prior and post assessments with the exception of 'Presentation' (Prior assessment - 94/100) and 'Distinctiveness' (Post assessment - 76/100).
'Place', 'Presentation', and 'Rigour' exceeded peer expectations while 'Risk' exceeded expectations for self assessors.
In 2020, the Western Australian Department of Local Government, Sport, and Cultural Industries (DLGSC) made benchmarks available from evaluations conducted by all their funded arts and cultural organisations during the 2016 to 2019 period.
Benchmarks give context to organisers so that they can understand the unique impact they deliver through their events and programs, and the outcomes that distinguish them from other offerings. The below chart shows the average dimension results achieved by the FRINGE WORLD Festival, compared to the DLGSC benchmark average and interquartile range (IQR).
Three of seven comparable dimensions fell within the DLGSC's benchmark range for AOIP organisations. This indicates that results for 'Presentation', 'Distinctiveness' and 'Connection' are in line with other evaluations undertaken by other AOIP organisations. The result for 'Captivation' exceeded the benchmark interquartile range, demonstrating FRINGE WORLD Festival's success in holding their audience's interest and attention.
The result for the remaining dimensions 'Access', 'Meaning', and 'Relevance' fell below the DLGSC's benchmark range indicating outcome areas ARTRAGE could consider focusing on in future years.
Spending questions ask survey respondents about how much they spent in the local area on items like shopping, food, beverage, etc. as part of their attendance at the event. Respondents are asked to exclude accommodation or other travel expenses as these are separated as part of the economic impact calculations.
Respondents are also asked what they would have done otherwise if it was not for their attendance at the event. This question is used to determine 'additionality', which is the percentage of spending that could be considered to be additional or could genuinely be attributed to the event. It is statistically defined as one minus the percentage of deadweight (1 - dw%), where deadweight is the economic outcome that would have happened in the absence of activity.
The following charts show the visitor spending and additionality results used in the economic impact analysis, as well as what spending types of respondents reported.
Most respondents reported spending between $0-$50 at FRINGE WORLD Festival (60%) and Rooftop Movies (70%). After outliers were removed, the average visit spent per person was determined as $106.20 (FRINGE WORLD Festival) and $46.51 (Rooftop Movies).
A weighting is applied to spend results within the economic impact analysis depending on where respondents come from, and therefore this average result may differ from the weighted average. When both results are very close, it is understood to be a rigorous result.
A large majority of respondents would have stayed home, gone to work, or done something else not in the local area if they had not attended a FRINGE WORLD Festival event (77%). Likewise, over two-thirds of Rooftop Movies attendees (68%) would not have visited the local area if they had not attended this event.
All survey respondents were asked if they were staying overnight while attending the event, how long they were staying and how much they spent on accommodation.
Survey respondents who identified as living Intrastate, Interstate, or Overseas were asked additional questions about their trip spending and reasons for visiting. This data is used to determine the economic impact of the event on tourism-related spending.
All spending and additionality results are weighted by the attendee's place of origin (i.e. City of Perth, Perth Metro, Elsewhere in WA, Interstate, and Overseas).
Tourism additionality asks respondents how much influence the event had on their decision to visit WA (or Perth, for regional visitors). Tourists that indicated the event was their primary reason for visiting means that 100% of their trip spend is attributable to the event, whereas tourists who were unaware of the event before visiting indicate that the event was responsible for 0% of their trip spend.
A weighted exponential scale of attribution is applied to calculate an overall trip additionality figure in the economic impact calculations (i.e. 100%, 50%, 25%, 5%, 0%).
The average spending on accommodation for tourist visitors attending FRINGE WORLD Festival was $158.10 with most respondents spending between $1-$50 (25%) and $101-$150 (25%) on accommodation.
Half of the Rooftop Movies respondents that were visiting the local area reported spending between $0-$50 (50%) on accommodation while staying away. 25% spent between $51-$100 and $251-$300, with the average accommodation spend calculated as being $102.73.
When asked how much they spend during their time away from home, 45% of FRINGE WORLD Festival respondents reported spending $51-$100 during their stay. Half of the Rooftop Movies sample reported spending $151-$200. The calculated average trip spend was $150.63 for FRINGE WORLD Festival respondents and $193.01 for Rooftop Movies respondents.
71% of respondents who reside elsewhere in WA claimed that the FRINGE WORLD Festival was the main reason that influenced their decision to travel to the local area. 14% claimed the festival was a contributing factor to their visit. The sample of Rooftop Movies respondents who lived outside of the Perth Metro Area was too small to draw an accurate comparison regarding whether the event influenced their decision to visit the local area.
After responses were weighted for all tourist attendees, the tourism additionality of FRINGE WORLD Festival was determined to be 77%, which means that 77% of tourist spending would not have occurred, if not for FRINGE WORLD Festival. Accommodation additionality was calculated to be 66% for Rooftop Movies.
Other figures are required for the overall economic impact calculations, including Artist Expenditure, Organisational Expenditure, and Unique Attendance.
Unique attendance is required for the calculation of accommodation spending, as it is common for FRINGE WORLD Festival attendees to see multiple events over multiple nights. By determining the unique attendance of the overall festival, we can then apply a percentage figure calculated from survey data to determine the number of accommodation nights generated by the festival.
Artist Expenditure is a significant component of economic impact, due to the large number of artists that are participants in FRINGE WORLD Festival. Artist expenditure includes the daily spending of all artists while participating in FRINGE WORLD Festival, as well as the accommodation and trip expenses from travelling artists who live outside of WA.
Finally, organisational expenditure contributes to the economy by using equipment and services to create the event. FRINGE WORLD Festival also shares box office revenue with artists participating in the festival. As FRINGE WORLD Festival takes in revenue through its provision of food and beverage operations, this revenue is deducted from the average spending of festival attendees to prevent it from being double counted through organisational expenditure.
| ATTENDANCE TYPE | TOTAL |
|---|---|
| Total Attendance (Free & Ticketed) | 564,018 |
| Ticketed - FRINGE WORLD Festival | 281,157 |
| Free - FRINGE WORLD (Artrage Managed Venues, Sunday Funday) | 246,182 |
| Free - FRINGE WORLD Other | 36,679 |
| Free - New Attendees (Calculation) | 17,235 |
| Total In-Scope Attendees | 298,832 |
| Average Events Attended Per Person | 4.48 |
| Unique Tourist Attendance | 4,249 | TOTAL IN-SCOPE UNIQUE ATTENDEES | 66,705 |
| SPEND TYPE | # OF ARTISTS | AVG NIGHTS | AVG SPEND P/NIGHT | ADDITIONALITY | TOTAL |
|---|---|---|---|---|---|
| Daily Spend | 2,522 | 22.4 | $59.34 | 81% | $2,707,914 |
| Accommodation Spend (Non-local Artists) | 1,311 | 24.6 | $74.96 | 100% | $2,417,488 |
| Artist Trip Spend (Non-local Artists) | 1,311 | 7.2 | $68.43 | 100% | $642,485 | TOTAL | $5,767,886 |
| SPEND TYPE | TOTAL |
|---|---|
| ARTRAGE Organisation Expenditure | $8.5m |
| FRINGE WORLD Ticket Profit Sharing | $5.1m |
| (Minus) ARTRAGE Food & Beverage Revenue | $1.9m | TOTAL | $15.5m |
Survey respondents were asked to estimate how much they had spent as part of their visit, the level of influence on their decision to visit, as well as indicate what they would have done if they had not visited. Combining this data with attendance figures allows an overall impact figure to be generated.
The economic impact is determined by three main factors:
Visits/Attendance: The number of people spending money (converted to the number of nights for accommodation and longer trips).
Spend: Spending in the local economy. Includes spending as part of a visit, spending on accommodation for those staying overnight, and any other trip-related spending for those staying multiple nights. Excludes spending on tickets or other items that would be captured through organisation expenditure (i.e. to avoid double-counting).
Additionality: The percentage of spending that would not have occurred otherwise.
To calculate the economic impact on the local area, only additional visitation is included. From those visits, only expenditure that would not have otherwise occurred is considered. In this case, the economic impact is from attendees who would have otherwise stayed at home, gone to work, or those who would have done something else outside the local area.
The tables below detail a breakdown of visitation by additionality (i.e. new visits to the area because of the event), visitor expenditure (if they came and stayed in the area because of the event and any other spending they did), and total economic output.
| PROGRAM | ATTENDANCE | EVENT SPEND | ADDITIONALITY | TOTAL |
|---|---|---|---|---|
| Rooftop Movies | 32,350 | $46.51 | 66% | $989,126 |
| FRINGE WORLD Festival | 298,832 | $106.34 | 77% | $24,461,413 | TOTAL | 331,182 | $25,450,539 |
| PROGRAM | NIGHTS | ACCOM SPEND/NIGHT | TRIP SPEND/NIGHT | ADDITIONALITY | TOTAL |
|---|---|---|---|---|---|
| Rooftop Movies | 1,300 | $102.73 | - | 66% | $110,146 |
| FRINGE WORLD Festival | 15,182 | $158.10 | $234.13 | 77% | $3,366,137 | TOTAL | 16,482 | $3,524,371 |
| DIRECT IMPACT | MULTIPLIED IMPACT | |
|---|---|---|
| Attendee Spending (Rooftop) | $1,147,360 | $3,371,131 |
| Event/Visit | $989,126 | $2,927,813 |
| Accommodation | $110,146 | $302,902 |
| Attendee Spending (FRINGE WORLD Festival) | $27,827,550 | $81,798,673 |
| Event/Visit | $24,461,413 | $72,405,783 |
| Accommodation | $2,566,055 | $7,056,652 |
| Trip | $800,081 | $2,336,238 |
| Artist Expenditure (FRINGE WORLD Festival) | $5,767,886 | $16,431,255 |
| Daily Spend | $2,707,914 | $7,907,108 |
| Accommodation | $2,417,488 | $6,648,091 |
| Trip | $642,485 | $1,876,055 |
| Organisation Expenditure | $13,600,000 | $36,312,000 |
| TOTAL | $48,342,796 | $137,913,059 |
Note: For the purpose of this analysis, output multipliers derived from ABS Output Tables 2012-13 have been applied to direct impact expenditure. Event expenditure scaled by an output multiplier of 2.96, the national Food and Beverage multiplier (2.96). Accommodation expenditure scaled by an output multiplier of 2.75, the national Accommodation multiplier. Trip expenditure scaled by an output multiplier of 2.92, representing an average of national Retail and, Food and Beverage multipliers (2.88 and 2.96 respectively). Organisation expenditure scaled by an output multiplier of 2.767, the national Heritage, Creative and Performing Arts multiplier.
Using the Impact Summary, additional analysis has been conducted to report the impact of ARTRAGE activities on employment, as well as the percentage of spending that was undertaken by different types of tourists.
For comparative purposes, other Economic Impact Assessments conducted by Culture Counts have been included. These comparisons represent the direct impact of attendee spending only - that being the spend of attendees outside the event area and any spending on accommodation.
| DIRECT EMPLOYMENT (FTE) | MULTIPLIED EMPLOYMENT (FTE) | Attendee Spending (Rooftop Movies) | 8.0 | 10.5 |
|---|---|---|
| Attendee Spending (FRINGE WORLD Festival) | 198.8 | 356.8 |
| Organisation Expenditure | 101.1 | 178.9 |
| Artist Expenditure (FRINGE WORLD Festival) | 35.4 | 67.3 |
| TOTAL | 343.3 | 613.5 |
| UNIQUE ATTENDEES | DIRECT IMPACT | Attendee Spending | $4,759,974 |
|---|---|---|
| Elsewhere in WA | 2,632 | $3,001,788 |
| Interstate | 661 | $1,194,898 |
| Overseas | 957 | $563,288 | Artist Spending (Non-local Artists) | $3,141,266 | TOTAL | 4,249 | $6,062,190 |
| SOURCE | ATTENDEES | AVG. SPEND | ADDITIONALITY | DIRECT IMPACT (ATTENDEE SPEND) |
|---|---|---|---|---|
| FRINGE WORLD Festival 2023 | 298,832 | $121.17 | 77% | $27,827,550 |
| FRINGE WORLD Festival 2022 | 239,437 | $114.97 | 76% | $20,922,055 |
| FRINGE WORLD Festival 2021 | 232,374 | $69.78 | 74% | $11,998,832 |
| Perth Festival 2022 | 143,665 | $51.97 | 65% | $19,996,027 |
| Midsumma 2019 | 101,802 | $213.13 | 55% | $11,933,184 |
| PrideFEST 2019 | 28,079 | $107.43 | 67% | $2,020,999 |
| Commonwealth Games Festival 2018 | 120,188 | $84.50 | 100% | $10,155,896 |
Note: Direct Employment has been calculated by dividing Direct Impact by the industry-specific Output per FTE figure. This figure is then multiplied by the relevant employment multiplier to estimate Multiplied FTE. For this analysis, Output per FTE has been derived from ABS Input-Output Tables 2012-13 and WA Treasury CPI 2021. Employment multipliers have been derived from ABS Input-Output Tables 2012-13. Event Impact FTE uses an Output per FTE figure of $134,567, and an employment multiplier of 1.77. Accommodation Impact FTE uses an Output per FTE figure of $226,689, and an employment multiplier of 2.21. Trip Impact FTE uses an Output per FTE figure of $139,394, and an employment multiplier of 1.775. Organisation Expenditure FTE uses an Output per FTE figure of $134,567, and an employment multiplier of 1.75.
This report has been prepared by Nicole Tan Emery, Shelley Timms & Jamie McCullough of Culture Counts. The authors would like to thank all stakeholders and staff for their participation in this research.
Approved by: Claire Hodgson
Date of Approval: 21 April 2023
We respectfully acknowledge the Traditional Owners of Country throughout Australia and recognise the continuing connection to lands, waters and communities. We pay our respect to Aboriginal and Torres Strait Islander cultures, and to Elders past and present.