WHAT EVER IT TAKES by Sherelynn Reijnen

PITCH IT

GROUP 19 | WHATEVER IT TAKES FONTYS ACADEMY FOR CREATIVE INDUSTRIES CREATED ON FRIDAY THEATERS TILBURG

2 | SPW 2 路 GROUP 19

PITCH IT

SPECIAL PROGRAM WEEK 2 | GROUP 19 Laura Hermsen · 2185414 Jill Jesmiatka · 2185007 Joël Lemmerling · 2194584 Ailis O’Neill · 2184485 Ilse van Gelder · 2191409 Danny van der Wielen · 2148539 Rosalie Blok · 2182071 Sherelynn Reijnen · 2181644

Commissioned by FONTYS ACADEMY FOR CREATIVE INDUSTRIES Coordinator SANNE HEESBEEN Coaches BRAM CUIJPERS RUDOLF JULIET LIEKE DE BOER Client CREATED ON FRIDAY THEATERS TILBURG Date DECEMBER 2014 SPW 2 · GROUP 19 | 3

4 | SPW 2 路 GROUP 19

PREFACE The assignment for the second Special Program Week was from the company “Created on Friday” and “Theaters Tilburg”. In front of you, you can find our master plan, made by eight students from CO and CE IEMES. This master plan contains work from Monday December 1, 2014 to Thursday December 4, 2014. On Monday November 17, we were briefed by “Created on Friday” about our assignment. On Friday November 28, the call from “Theaters Tilburg” was posted on www. createdonfriday.com. The assignment was to make a one-minute-movie that will trigger young adults in the age of 14 to 20 years old to visit “Theaters Tilburg”. In order to do so, we first had to analyze “Theaters Tilburg”. What do they stand for? What is their mission and vision? And what are their core values and current communication means? After that, we analyzed the target group. What are their interests? What are their issues and what do they like and dislike? But the biggest question was: how do you approach this target group? When are they convinced to go somewhere? We found that if we knew the answers to these questions, we could find a way to improve the communication of “Theaters Tilburg”, and get more people from that target group to come to “Theaters Tilburg”. To research this question, we made a combination of desk and field research. For our field research, we chose to do interviews, to get to know our target group. Based on all our research, our one-minute-movie could be made. In this master plan you can find our advice and our storyboard for our one-minute-movie. (link: http://www.createdonfriday.com/pitches/126) We would like to thank our supervisors, Fontys Academy for Creative Industries, “Created on Friday” and “Theaters Tilburg”.

SPW 2 · GROUP 19 | 5

CONTENT 01 CHAPTER

CHAPTER

INTERNAL ANALYSIS 1.1 Business definition 8 1.2 Mission 9 1.3 Vision 9 1.4 Functions 9 1.5 Core values 9 1.6 Objectives 9 1.7 Current communication means 9 1.8 Marketing mix 9

EXTERNAL ANALYSIS 2.1 Macro DESTEP analysis 2.2 Competition 2.3 Governmental influence 2.4 Trends & Developments 2.5 Interviews 2.6 SWOT Analysis

10 11 12 12 13 15

TARGET GROUP ANALYSIS 3.1 General information 3.2 Interests 3.3 Media use 3.4 Trends 3.5 Finances

16 17 18 19 20

CHAPTER

IMAGE THEATERS TILBURG 4.1 General art & culture image 4.2 Image question interview 4.3 Identity & image gap

20 21 21

CHAPTER

CONCLUSION & RECOMMENDATIONS 5.1 Conclusion 5.2 Recommendations

22 22

CHAPTER

CONCEPT ‘WHATEVER IT TAKES’ 6.1 Explanation 6.2 Shotlist

24 25

Bibliography Appendix

26 29

05 06

1. INTERNAL ANALYSIS First we will explain what “Theaters Tilburg” is and what they do. “Theaters Tilburg” consists of the theatre, concert hall and studio. One cultural enterprise with a wide range of performing arts. “Theaters Tilburg” is an open house for all residents of Tilburg and surroundings and offers a total solution that continues to surprise. Their programming consists of over 350 performances and concerts. From cabaret to classical music, from musicals to dance for young and old, for every budget; “Theaters Tilburg” has it all. Additionally “Theaters Tilburg” is a welcome home for performances of amateur groups from the region. History of “Theaters Tilburg” “Theaters Tilburg” celebrated their 50th anniversary in March 2011. The new theatre, which was built around 1960, is one of the buildings that define the city center. The two architects Ir. B. Mugwort (1889-1979) and prof. G.H.M. Holt (1904-1988) wanted in Tilburg a theatre that was modern and functional and that achieved by clarity in the division. They wanted a theatre that was open, facing towards the people

and realized by large windows and glass walls; a building in communication with the city, rather than decided retreated into a sanctuary of culture. All the furniture that you find in the foyers of the theatre was designed around 1961, when the theatre was opened. Even now, these designs have a very contemporary feel. Light ceiling Peter Struycken is responsible for light work in the concert hall. Struycken: “I knew right away what the audience had to look I saw the continuous, colored lighting along the walls almost immediately in front of me, the ceiling with colored fluorescent tubes and lines in the air came there later on...” The basic principle is the same everywhere: displays the sum of red, green and blue in equal doses as a result of white light. 1.1 Business definition Before we can formulate an objective, we need to select and demarcated the area of the company. If we speak about a business definition we ask or self the question: ‘what business are we in’?

8 | SPW 2 · GROUP 19

n d n e

The business definition for “Theaters Tilburg”: “Theaters Tilburg” is a company that organizes several and different programs and events with different stakeholders where drink and entertainment is included in the package. Also “Theaters Tilburg” is also a platform for talented people in the area of Tilburg. 1.2 Mission “Theaters Tilburg” stands for hospitality, quality and innovation and offers residents, creators and organizations the most interesting cultural meeting spot in Midden-Brabant.” (Theaters Tilburg: Toekomstvisie 2013 - 2016, 2013) “Theaters Tilburg” has one great mission: to be the stage of the city (Theaters Tilburg, 2014). They have made a big future plan in which they tell that their mission is simple, but the implementation for Theaters Tilburg is complex and challenging. Their budget is under pressure, which demands more creativity and collaboration than ever. They are a work in progress, just like the city of Tilburg itself (Rob van Steen, Theaters Tilburg: Toekomst visie 2013 - 2016, 2013). Their mission comes from four assumptions: it is all about stage arts, they provide visitors more than one performance, they are proactive in taking part in producing and they do more than just exploiting the building. (Theaters Tilburg: Toekomst visie 2013 - 2016, 2013) 1.3 Vision “Theaters Tilburg” stands in the middle of the cultural heart of Tilburg. They accomplish that by participating in local issues, events and festivals. (Theaters Tilburg: Toekomst visie 2013 2016, 2013) 1.4 Functions In addition to their mission they contribute to the cultural life of Tilburg. The program, locations and organization of “Theaters Tilburg” have three functions: to serve, to involve and to build. These functions apply to the three target groups: residents, creators and organizations. (Theaters Tilburg: Toekomst visie 2013 - 2016, 2013) 1.5 Core Values The core values of “Theaters Tilburg” are hospitality, quality and continuous drive to improvement. These values support their mission and functions. First of all, being hospital is a must for every theatre. The core value of quality is seen in every part of “Theaters Tilburg”. From the program, to the building, to the catering to the employees. They also want to keep improving constantly by changing with the changing people. (Theaters Tilburg: Toekomst visie 2013 - 2016, 2013)

1.6 Objectives Objectives are set within an enterprise to have a starting point for your business. Objectives should be formulated SMART, this stands for: Specific, Measurable, Acceptable, Realistic & Timebound.

The objective for “Theaters Tilburg” is: Within two years “Theaters Tilburg” wanted five percent of their visitors is between the ages 14 – 20 years old.

t t

1.7 Current communication means To find out how “Theaters Tilburg” communicates to their audience, it is necessary to do research on their current communication means. Because it is not that important for the final product, it will be briefly explained. With physical means, “Theaters Tilburg” involves the citizens of Tilburg. They gain awareness with having large banners, posters and abris in the city. Beside that they have a printed version of their program and their own magazine. With their physical communication means the theatre is present in the city. Online they are doing well, their website is ‘up to date’, clear and connected with other online and physical means. Their awareness is good, it is easy to find them on the internet, and also findable on other websites like ‘podiuminfo’, ‘tilburg.com’ and several theatre websites. Beside their website they have platforms like ‘vriendentheaterstilburg.nl’, an e-mail newsletter, a physical magazine and a blog. The theatre is also active on the social media platforms, they are doing well on Facebook and have a medium number of likes and the response on their posts is moderate. (Likes: 5.105, Response: Moderate). “Theaters Tilburg” is also an active twitter user, you can see that there is someone working on it. Most of the time they retweet other tweets that are related to their organization, besides they post their theatre program. (Followers: 5.260) Theatre director Rob van Steen has a blog, which is part of the online communication of the theatre. Furthermore they have a photo-stream on Flickr of a camera that is based in their foyer. Annually a lot of students visit “Theaters Tilburg” as a school trip. During a school trip, they do not promote “Theaters Tilburg” directly to the students, but via the teachers. 1.8 Marketing mix Product “Theaters Tilburg” is an open house for all residents of Tilburg and surroundings and offers a total solution that continues to surprise. Own programming consists of over 350 performances and concerts. From cabaret to classical music from musicals to dance for young and old, and for every budget. Additionally “Theaters Tilburg’ is a welcome home for performances of amateur groups from the region. Price “Theaters Tilburg” handles with several performances special prices for the youth. For instance €8,50 for a studio ticket and €12, - for a ticket in the concert hall. A regular ticket cost normally between the 15 and 50 euro. Sometimes the special price for youth is valid and then they have to pay the normal price. Promotion The promotion of “Theaters Tilburg” will be discussed in “Current Communication Means” Place Louis Bouwmeesterplein 1 5038 TN Tilburg Online: www.theaterstilburg.nl (Theaters Tilburg, 2014)

SPW 2 · GROUP 19 | 9

2. EXTERNAL ANALYSIS

2.1 Macro DESTEP-analysis Demographic In 2013 Tilburg had a population of 208.537 people. Most of these people live in the area of Reeshof. The area with the smallest number of inhabitants is the area ‘Oost’ (Gemeente Tilburg, 2013) (Appendix 1). The biggest age category in Tilburg is the people between the ages 20 and 24 years. (Gemeente Tilburg, 2013) (Appendix 2). Tilburg has 197.958 inhabitants in 2013. The population has grown with 5,98% in the past ten years. (Gemeente Tilburg, 2013) (Appendix 3). In 2003, 77,2% of the people in Tilburg were non-immigrants, 8,4% were Western immigrants and 14,4% were non-Western immigrants. These numbers changed over the years. In 2011 there were 75,1% non-immigrants living in Tilburg.9,4% of the inhabitants of Tilburg were Western immigrants and 15,5% were non-Western immigrants. (Gemeente Tilburg, 2011) (Appendix 5). In 2009 the amount of houses in Tilburg was 80.955. Of this amount of houses, there were 54.141 single-family homes and 26.814 multi-story dwellings. (Gemeente Tilburg, 2010) (Appendix 6). Economic The economic recession has still left its mark, people were investing their money in a different way, they will spend less money to luxury goods. A visit to a theatre is a luxury good.

Economic growth in Midden-Brabant Midden-Brabant will have an economic growth of 0,4% in 2014. The presence of wholesale business and logistics contribute to the recovery of the economy. The expectation is that in other sectors there will not be growth in 2014 yet. (Brink. H van der, 2013) Unemployment in Midden-Brabant The percentage of unemployment in Midden-Brabant was 6,8% in 2012. This percentage is above the national percentage, 6,4%. The expectations of the unemployment in Midden-Brabant will be even higher and higher. (Brink. H van der, 2013) Growth number of starters The number of new enterprises nationally has grown with 2% in the first three quarters of 2013. With a growth of over 6%, Midden-Brabant is above this percentage. (Brink. H van der, 2013) Employed people in Tilburg In 2010 there were 104.558 people in Tilburg who had a job. 87.452 of these people were working fulltime and 17.106 people were working part time. The areas ‘Noord’ and ‘Zuid’ inhabited the largest number of working people. In the area ‘Reeshof’ is the smallest group of working people. (Gemeente Tilburg, 2011) (Appendix 7).

10 | SPW 2 · GROUP 19

Social Cultural The lifestyle of people is constantly changing, people find the value of nature and health increasingly important. “Theaters Tilburg” can try to anticipate and respond on the new lifestyles and values. Research from 2013 shows that the people in Tilburg are giving their own neighbourhood different report marks. It shows how the inhabitants of Tilbug feel and think about their neighbourhood. In general the inhabitants give their neighbourhood a 7,15. (Gemeente Tilburg, 2010) (Appendix 8). School In Tilburg the total amount of people studying is 74.381 people. This includes primary school, secondary school, high school, higher education and special education. (Gemeente Tilburg, 2013) (Appendix 9) Technology The technology is now highly valued by the population. In particular the internet is increasingly important in the society. For promotional purposes, it could very suitable. An example is social media. A link can be established between the social media and smartphone. Almost everyone today has a smartphone with Facebook, Twitter, etc. If promotion is done via these media, “Theaters Tilburg” can directly contact their customers. We call this ‘instant contact’. Wi-Fi Tilburg is constructing a free Wi-Fi network in the centre of Tilburg. They will make internet available for everyone (Brabants Dagblad, 2013). Apps A lot of apps are available for the residents and visitors of Tilburg. For example there is a ‘omgevings info’ app, which translates info in the around area. With this app you can also follow all the requests for permits and building plans in your area (Gemeente Tilburg, 2014). Ecological Nowadays a lot of organizations and companies handle with the environment and nature in mind. It can be said that the environment will play an increasingly important role in the society. Examples of how you can ecological undertake are doing the promotion digitally, then you are reducing paper. Using LED light this is a sustainable way, green energy and recyclable products. Political Juridical VAT In 2011 he VAT increase was increased from 6% to 19% within the art and culture sector. In 2012 this increase was reversed again to 6% but the theatres could not pass on the increase in the ticket because the number of visitors took all driven back (de Volkskrant, 2012).

2.2 Competition Other possibilities for “Theaters Tilburg” in Tilburg. • De NWE Vorst (flat floor theater) • Poppodium 013 • Hall of Fame • Cinecitta • Paradox Social media figures to get an insight in the popularity of different theatres; Venue De NWE Vorst Poppodium 013 Hall of Fame Paradox Cinecitta Theaters Tilburg Theater Breda Theater Eindhoven Theater Den Bosch

Likes (FB) 1745 33854 2974 1516 1131 5109 9327 3818 2680

Visits (FB) 2130 68251 3905 3201 525 11764 29940 27365 19531

Price Medium Medium Low Low Low High High High High

It is remarkable that there are very little theatres like De NWE Vorst that have a lot of likes and visits in contrast to the capacity of the venue. “Theaters Tilburg” is Comparable in capacity to pop venue 013, but 013 has a lot more likes than “Theaters Tilburg”. How is this possible? Theatre Breda is the theatre with the highest likes and visits of all the theatres in de province of Breda. Why do people visit other places more than “Theaters Tilburg”? • Young adults want to make sure they get entertainment when they are going out. • Flat Floor theatres have a better image under the youth than the big theatres. Big theatres are more considered for elderly people. • Young adults are more interested in music than in theatre. • Young adults are not aware of the program of “Theaters Tilburg”. In other cities people visit more theatres because of; • Special subscriptions for students “Theaters Tilburg” started a cooperation with the four biggest theatres: Brabantse theaterpodia, parktheater Eindhoven, Chasse Theatre Breda and Theatre on the Parade ’s-Hertogenbosch in the filed of marketing and knowledge. The collaboration is supported by BKKC (Brabants Knowlegde center).

Budget government The government has a budget deficit and must cut back sharply. Also grants for arts and culture there is less money in the coming years. From 2013, every year more than 700 million Euros is available. There is a 200 million cut (Rijksoverheid, 2013)

SPW 2 · GROUP 19 | 11

2.3 Governmental influence Cultural Youth Profile The essence of CYP (Cultural Youth Profile) is that young adults develop their own cultural taste. They want to inspire and facilitation young adults to go on a discovery for culture.

Something similar to this is crowdsourcing, which is having visitors actively engage with the show. Generating new ideas, participating in research or other event/theatre related matters. Crowdsourcing gives clear insights in to the psycho, experience and needs of the audience.

How this discovery is designed depends on what you have inherited from home or at school and the underlying personal motives that have to do with culture. The environment of the society nowadays, where the art- and culture area is moving, is more competitive than ever. CYP hopes to get a new generation on the threshold. The cultural offer is huge and young adults have to make choices in their full entertainment agenda. CYP is designed to beat the competition of leisure. Together with Young Works and Motivation, CYP has developed: ‘’The CYP-model’’. This model provides cultural organisations of more insight into the perceptions and motivations of the young adult target group from 12 to 25 years old. With this knowledge the cultural organisations can adjust their offers and services more to the needs of the target group.

Another example is the ‘second screen’, something multiple television shows have incorporated into their programs. During shows that use ‘second screen’ viewers can participate and decide or speculate about the ‘outcome’ or results of the show.

CKV1 For the last couple of years, the government has a lot of attention for cultural participation and institutions of young adults. This attention was structurally after the introduction of CKV1 in 1999 and the first Cultural Outreach Action Plan (2001-2004). Examples are the special programs for CKV1 who developed cultural institutions and the any cultural project for young adults. About twenty-five percent of the Senior General Secondary Education and pre-university secondary education schools started offering CKV1 in 1999. In the school year of 1999-2000 all other schools start with it. The main aim of the course is to motivate students to choose from the wide range of art and cultural expressions, especially in their immediate surroundings (C. Dieleman, 2010). Funding money The government also encourages theaters to pay more attention to the target group of young adults. They do this by requiring theaters to use a part of their funding money for cultural and reaching new audiences such as young people and immigrants. 2.4 Trends and developments Interaction & contribution The invisible fourth wall of the stage is slowly being taken down and interaction with the audience is rapidly increasing. Interaction makes it possible to create engagement among a broader audience, which means getting attention from non-theatre fans as well. Crowdfunding is a concept we keep seeing more and more in the entertainment industry, a good example is Katja Heijmann’s show ‘Kraud-fun-ding’, Katja is a student at the Tilburg dance academy. Visitors can come see the show, but ‘it only goes on’ if the audience keeps donating money during the show. After each donation, the play continues for a while until it stops again and waits for a new donation. This way the audience stays engaged and in the meantime money is being earned.

Social media Nowadays, social media is one of the most important tools to promote events. Most theatres have their own Twitter and/ or Facebook page where they keep track of current developments. This way the (possible) audience get triggered and are reminded of the shows that are playing. Besides advertising, there are many other ways to use conveniently use social media. Lots of visitors post their thoughts and experience on Facebook after visiting a show, something theatres can benefit from. By responding to positive reviews, or to react openly to less positive reviews, the theatre shows they’re open to the audience’s input. This way the audience will feel more respected and significant. Ticketing The days of paper tickets are far behind us; nowadays most event/entertainment companies provide the option of printing tickets at home, or having a code scanned directly from a smartphone or tablet. Mobile wallets Another way of ticketing is either Apple’s Passbook app, or Google’s Google Wallet app. These mobile wallets use nearfield communication chips inside mobile smart phones and tablets to transmit payment information. When a customer is ready to pay using a mobile wallet, they open an app on their smart phone or other device. The customer then enters a PIN and selects the payment account they wish to use, along with any special offers or customer reward programs they want to apply. At the time of payment, they simply tap their device to an enabled payment terminal, and the payment information is transmitted. Contactless smartcard system This technique is currently only being used in public transport, but is also relevant for events, theatres and concert venues. One of the biggest sources of frustration at events are long queues for the entrance, ATM’s, coin machines/counters and bars. A smartcard not only contains your ticket, but also consumption vouchers and other extras. Research shows that visitors spend 10 to 30 percent more when using the smartcard at events. Technology Mobile apps are something more and more entertainment and event companies are adding to their communication means. These apps usually give info about the building or area, timetables, artist information and practical information about i.e. directions and public transport.

12 | SPW 2 · GROUP 19

Visitors of events aren’t as easily impressed anymore and expect a lot from event/entertainment companies. It’s all about creating experiences that tickle all senses and result something unforgettable. 3-D technology is something that can add to those experiences. Nowadays a lot of companies are specialised in 3D video projection. Which is a great way of giving shows a boost and telling a story in an impressive way. Something more websites and web shops have been using are teasers/trailers of shows or products. Not only in the event industry but also online stores like Bol.com incorporate short videos, like book trailers/teasers in their website to get people’s attention. One of the most recent trends in social media is the ‘Dubsmash’ app, a German app that combines the selfie-trend with funny/ remarkable Internet quotes. As someone uses the front camera of a smartphone, the app plays a quote so the user can ‘mime’ the quote. A bit like karaoke, but with quotes. The results are funny ‘video-selfies’ that can be shared on apps like Facebook and WhatsApp. 2.5 Interviews After the desk research, we decided that we needed to do some field research to discover more about the target group. We chose to do interviews, so everyone could answer the questions in they own way. We asked ten people aged 15 to 20 years old to answer our questions. In this chapter all questions will be discussed; we will explain why we asked these questions and the results coming from these questions.

“

1. What do you think about when you think about “Theaters Tilburg”? We asked this question to picture the image of “Theaters Tilburg”. In this way, people would say the first thing that came to mind. The results from this question were very c l e a r. Everybody answered that they at first thought about “De Schouwburg”, which tells us that they do not have a clear image about the Studio and Concerthall of “Theaters Tilburg”. 2. What draws you to a theatre offer? We asked this question to picture the reasons why our target group would want to go to the theatre. Almost everybody says cabaret is a reason to go to the theatre. We also see a difference between girls and boys. Boys are more likely to go to cabaret and concerts and girls are more likely to go to musicals and dancing shows 3. What do you do during your spare time? We asked this question to see if their interests match with the things they would want to see in the theatre. We see here that some are interested in dancing and watching tv shows or playing the piano. But most importantly, almost everybody said that they spend most of their spare time with their friends. 4. What do you think of when you think of entertainment? We asked this question to see what the target group thinks of when it comes to entertainment. The answer that was discussed the most was to have a good time and to be entertained.

A MIND THAT IS STRETCHED BY NEW EXPERIENCES CAN NEVER GO BACK TO ITS OLD DIMENSIONS”

SPW 2 · GROUP 19 | 13

5. How much are you willing to pay for a ticket? We asked this question to see what the target group has to spend and wants to spend. Of course this depends on whether they have a job or not, so these answers were very different. Our respondents also said that it depends on the show they want to see, and how badly they want to see it, and how exclusive it is. The price differs from 20 euros to 70 euros. 6. How do you keep track of parties, festivals and events? We asked this question to see through which way the target group is best approached. Almost all respondents indicated that they mostly keep track of events via social media, but also because of their friends told them about a specific event. 7. When are you convinced to go somewhere? We want to know what it takes for these young adults to actually want to go somewhere. Most people say it depends on the line-up or the price. But also to this question people answered that if there friends go, they almost automatically go with them. 8. What bothers you in commercials? We asked this question to know what we really should avoid in our video. Mostly named were “annoying” commercials, fake commercials and when commercials appear way too much. 9. What do you like about certain commercials? Do you have an example of a commercial you like? We asked this question to know what the target group really likes about commercials, and what we maybe could apply in our video. Everybody likes funny commercials, the commercials by Albert Heijn were named twice. Also real and persuasive commercials are liked a lot.

11. Do you go out often? This question was asked to respondents under eighteen years old, to see if they are a little rebellious. Everybody does go out sometimes, even under eighteen years old. 12. Do you drink alcohol? This question was also asked to see if they are a little rebellious. Everybody we asked drank alcohol, even the ones that are not legally allowed to drink alcohol. 13. Let’s say you parents are not home and there is a nice event that you would like to go to, but your parents forbid you to go. Would you go or not? This question was also asked to see if they are a little rebellious. Most of the respondents would still go, even if their parents told them not to. Almost everyone answered that they would go if all their friends would go. Conclusion The most important outcome from these interviews is that the young adults really depend on their friends and the opinion of their friends. Their lives really revolve around their friends, and they do not care what other people say, they go against strict rules and are somewhat rebellious. They want to go somewhere if their friends are going too, and when they think it is cool to go there so they can share where they are on social media.

10. Do you follow the newest developments and trends when it comes to technology? Most people do follow the newest trends and developments, but only on a small level. They only buy a new phone of tablet when the old one is broken. They do participate in new kinds of social media and trends on social media.

14 | SPW 2 · GROUP 19

S 1

W 1

SWOT ANALYSIS The SWOT analysis consist a top two strengths, weaknesses, opportunities and threats of the organization. These analyses come out of the internal and external analysis.

STRENGTHS 1. Divers program. “Theaters Tilburg” has a large and varied range in their program. 2. “Theaters Tilburg” has a strong view of their mission, vision and core values. This helps them to send the right message to their target groups and create an image. WEAKNESSES 1. “Theater Tilburg” has not a great brand awareness. People are not all knowing what includes “Theaters Tilburg”. They only think of the theater but not of the concert building and the studio. 2. Attract few young adults. “Theaters Tilburg” attracts mostly older people and they are looking for some more young adults to visit one of their locations.

OPPORTUNITIES 1. Location. “Theaters Tilburg” is placed in the middle of the center of Tilburg. “Theaters Tilburg” is easily accessible by public transport and by car or by bike. 2. Emerging technologies. Nowadays there are a lot of new technologies and new possibilities to reach or attract your target group. THREATS 1. Legislation. The new law-making can have a big impact on “Theaters Tilburg”. For example the VAT increase. 2. Competition. People have to choose where they spend their money. There is some tuff competition in and around Tilburg.

SPW 2 · GROUP 19 | 15

3. TARGET GROUP ANALYSIS 3.1 General Information according to Art and Culture Young adults discover important developments during their puberty. They are creating their own identity. These social-emotional developments follow a fixed pattern that consist of three stages: early, middle and late adolescence. With this research we are focussing on the middle and late stage.

14-16 years old - middle adolescence Adjust to your peers to be interesting is not enough anymore. To belong with the rest, you must stand out. Middle adolescents are looking for their own identity and experimenting goes with that. At first in the area of appearance. Typical among youth in this stage, is that they take more risks. They are pushing the boundaries and years of trying. Young people between 14 and 16 years are still very emotionally vulnerable. Unlike a year of two before, they think about their choices, but not very rational. Consequences they cannot fully appreciate let alone perspective. Young people, in comparison, are given more freedom of their parents in the first phase and are therefore also better to experiment. At this stage they have relatively little attention to classical receptive art. This is especially true for lower educated. Receptive art experience is limited outside of school to visit concerts, music or cinema. Active cultural contrast plays a much bigger role for young adults in this life. They find it important to emphasize their own identity and find there, often unconsciously, ways for the active art. They play in a band, are a fan of a musical movement with matching dressing up, write poems or go to a theatre. 16-22 years old – late Adolescents Youth between 16 and 22 years old, are not in puberty anymore, they are called young adults. An important characteristic of this phase is that the self-conscious grows. These young adults are increasingly turning inward and get some positive distant image of itself. Their identity is getting more shape and they are less likely to succumb from peer pressure. From the age of 16, young adults behave more responsible and think further ahead. They have to, because times of studying, working and living on their own is coming. Late adolescents can keep their emotions and impulses better under control and have more self-understanding. They are not yet mature (though they think so themselves), because in new or unexpected situations their newfound certainties seem suddenly far away. Self-development on the basis of art and culture is becoming increasingly important in this phase. They find it important to learn something about art and develop themselves in this discovery. Some young adults see art and culture as an extension of their identity. They go to an independent art-house film, exhibition or they look at art magazines.

There are four groups of Cultural Young Adult Profiles in the age of 12-25 years. •

•

Green | The interested spectator: Older and go to college. Studious and interested in art and culture. They experience no threshold to go to a museum or theatre. They think art and culture is important for their development and want to know more about history. They are not so creative and performing on stage is also not necessary for them. They can enjoy it when others do this though. They read a lot, such as papers and college books. Music is less important. They rather enjoy a film or a play. They already know things about art and culture because of the way they have been raised. Purple | Enterprising Culture Fan: By nature an enterprising culture fan. Enjoys art and culture to develop and relax themselves. They are very creative and love surprises. They are also studious and think that social contacts are very important. No problem at all to stand in the spotlight. They think art and culture is an acquisition for everybody. Their enthusiasm leads to being active on the internet. Art and culture is there to share it with people. It will develop you. Orange | Fixed Culture Avoider: You will not find them in a museum or play. They are the least interested in art and culture. Trying new things is not necessary. They are not big dreamers and have little ambition. They love to be at home. That is where they feel the most comfortable and it is a trusting environment for them. They are not entrepreneurial in the their free time and also do not have many hobbies. They are not creative. The threshold to go to a cultural institution is very big. They fear the unknown. When they do visit a cultural institution, they want to know more. Pink | Creative Entertainer: is enterprising, creative and curious, but does not like to go to a museum or theatre. This type does not feel home there and thinks it is boring. They are quite young and fitting in is important. That is why they rather go to a theatre with friends then alone. They have a threshold to visit cultural institutions, but are not afraid to be in the spotlight. They are active in music and want to be discovered in this area. When they think of art and culture, they think of paintings, historical locations and monuments.

Left axis: Intrinsic interest Right axis: self-expression and creation

16 | SPW 2 · GROUP 19

Getting insight in these different groups of young adults can offer the cultural sector more knowledge about how to reach this target group and how to be appealing, accessible and desirable. Using these groups, cultural institutions can adapt their offer of art to the young adults. (Youngworks 2011)

•

What young adults think of cultural institutions depends on nine different dimensions. The position of the four groups is based on the average on these nine dimensions.

•

These dimensions are important to respond on. • Intrinsic interest: Shows the extent to which a young adult himself/herself is interested in art and culture. An intrinsic interest for culture makes you want to see things and experience that you have fun. Art should get people to think. • Threshold Fear: This dimension indicates whether a young adult is experiencing resistance to visit a cultural institution. Young adults with threshold fear often feel uncomfortable in a theatre or museum and find places like this boring. • Self-expression & Creation: This indicates how young adults are actively and creatively engaged with art and culture. They find themselves creative. They do not want to think about the everyday life. • Performance Fear: The fear to perform on stage. • Music as catalyst: This is the extent to which music provides relaxation and escape. They cannot live without music and their mood is applying on what they listen to. • Social Perception: Social perception in the dimension concerns the extent to which cultural activity is a social issue for young adults. They will go to a cultural activity with friends or if you can meet people.

•

Escapism: This is the degree of escape from everyday reality through cultural participation. These are the young adults that often read a book or watch a film to relax. General Formation: This dimension says something about the extent to which youth cultural experience is an important part of the overall development. Inquisitiveness: This indicates to what extent young adults are seeking new knowledge through cultural participation. Studious young adults are interested in history and if they are in a museum, they want to learn something new. They love facts. (B. Delmee, D. Zijlker, et al. 2012)

3.2 Interests One of the biggest interests young adults have is the Internet. They are used to a fast ways of communication and are really into social media. (B. Janssen 2014) This generation is growing up in a world without boundaries. They absorb copious amounts of information and are capable in working with new technology. Social media and social networking are inextricably connected to their lives. (M. Spek 2014) Within everything they do, transparency is important to young adults. This generation sees the employer preferably as a personality instead of a brand, and they search for personalities that fit their own values. It is obvious that the target group consists of a generation that is easily bored and disappointed. The key to connecting with them is to making sure to intrigue them. (B. Janssen 2014)

SPW 2 · GROUP 19 | 17

An exposition, dance performance or an evening at the theatre, are not the most favourite activities of young adults. Going to the cinema seems to be the most connected activity of young adults in the cultural offer. A majority of young adults (68%) are interested in culture. Twothird of all young adults find art and culture important for Dutch society. This is the support for culture among young adults that is almost as large as among adults. More than three-quarters of adults (85%) believe art and culture is important to overall development of young adults. The fact that young adults find art and culture important does not mean that they find all museums /performances interesting. Of course, some young adults are sincerely interested in these kind of things, while others are interested in modern cultural activities. But most young adults find it hard to define what art and culture is. When they think of art, young adults especially think of classical and receptive art forms (paintings, buildings and artists who died a long time ago). Modern art is more difficult to place for the young adults. And they often do not see active culture participation (such as going to a concert or the cinema) as culture institutions. (B. Delmee, D. Zijlker, et al. 2012) The five activities that fit in the area of art and culture according to young adults: Visiting a museum 81% Visiting a historical locations 77% Paintings / Drawing 74% Visiting a monument 74% Visiting a theatre performance 71% Every young adult is busy with art and culture in their own way. In which form, with what measurement and with which level of enthusiasm this happens, depends on certain conditions. It is also important in which life phase the young adult is located. For example; a 14-year old will most likely view an exposition differently than a seventy-year-old man would. (B. Delmee, D. Zijlker, et al. 2012) Issues why not to visit a cultural institution - Unwritten rules of conduct and a perfunctory character are significant issues for the cultural offer. But with some relatively minor modifications a cultural institution can be a lot more attractive for this target group. - Among young adults arises the idea that they have to learn something from a visit to a cultural organisation instead of to just enjoy it. They are willing to learn something, but it works as follows: first inspiration, then inquire. So they must first be stimulated to visit before they are open to art and culture. - Young adults want to hear from others whether something is ‘’OK’’. They are looking for confirmation and the opinion of friends is what counts. - Uncertainty and unfamiliarity of the rules from a cultural institution can play a role for young adults not to visit. They are located at unknown grounds. They do not know how to behave then. - The young adults want clarity and certainty. Indeed, young people need more structure than adults. Of the 16,8 million Dutch people, 4,9 million people are young-

er than 25 years. That is 29% of the total. (B. Delmee, D. Zijlker, et al. 2012) 3.3 Media Use The media use in Holland has grown a lot the last few years among young adults. It is the most important indoor activity. Such as; watching television, listening to the radio and music, and using the computer for gaming and communication. These media channels can support education, but also bring high risks with them. Accompaniment from parents and carers are therefore very important, so that children learn to deal consciously with the media. Young adults from the age of 12 have complete access to the Internet (100%). 86% percent of this group has a smartphone or tablet. The Internet use has grown with 14 hours a week, last measured in 2013 and it is still growing. Young adults spend most of the time on Youtube, social media and chat services in the area of internet. There is a difference between boys and girls. Boys are gaming and downloading more than girls. Girls are using more social networks than boys (van Rooij & Schoenmaker 2013) Almost 50% of the school-going young adults watch at least three hours of television. 53% is using the computer at least three hours daily. 1,8 hours out of those three hours is used on surfing on the internet. (NJI, 2014) Based on the values and interests of young adults the following list of media usage is also important with this target group. • Social Media: Facebook, MySpace, Twitter, YouTube, and Flickr are all examples of social networking sites that this generation frequently visit on the web. • Internet TV: Young adults constantly time-shift programming, not just on the web but on portable devices as well. They want to be available every hour of the day, all day. • Blogs: Blogs are frequently visited by young adults, to read information on products or to write reviews on products or services themselves. (J-P Lacroix 2010) 3.4 Trends Young adults have been raised in an even more brand-conscious and media-saturated world than their parents, resulting in the fact that they respond differently to ads, preferring to encounter these ads in various places. And teenagers are notoriously unpredictable: what is popular one week, can be out of style the following week. As stated earlier; an “in your face/hard‐sell”-strategy is not effective in order to reach this generation, the values have to match. These next four concepts are important to the target group in deciding what product or service to buy: Cheap cost: Young adults are very Internet savvy and perfectly capable of conducting extensive information searches to find the best value for products and services. High quality: Only the best product available is good enough for young adults. They are used to the constant development of technol-

18 | SPW 2 · GROUP 19

ogy and expect nothing but the best out of everything. Fast service: Since everything is available and ready for purchase at the push of a button on a smartphone or the Internet at all times, this target group wants a fast service. An “experience”: Young adults want to experience things first hand, and not be told what to do or what to think about products and services. They want to be able to form their own judgement, and pass this on to their friends. (J-P Lacroix 2010) Another trend is sharification. People want to share information about their life - activities and opinions included - with others, whether it’s via Vine, Instagram or Snapchat. (Youngworks, 2012) 3.5 Finances This generation is less motivated by money than older generations, especially in work-related business. The offer of jobs with a decent salary isn’t acceptable anymore, young adults are looking for more: they choose passion and meaningfulness over money. Furthermore we are living in a time where more and more online saving systems pop up. The idea behind this is to save up credits, coins or points that can be paid by, for example, spending money online or by reading emails.

SPW 2 · GROUP 19 | 19

4. IMAGE ‘THEATERS TILBURG’ 4.1 General Art & Culture Image How do you sell art and culture? By getting a lot of knowledge and placing ourselves in the shoes of the customer. Young adults love art and culture more than they think. (CJP, 2005). 1700 students between 15 and 17 years say that art and culture is boring and they are not interested in it. When they hear art and culture, they think of paintings, museums, theatres, ballet and classical music. But besides those subjects, young adults are experiencing art and culture more than they think. They are in fact very busy with art and culture. For example listening to music, singing, drawing, writing, photographing and dancing. The choice of visiting a theatre depends on education and taste. And the frequency how often a customer will go depends on time, costs, travelling, parking, and consumptions (food & beverage). The first visit to a theatre stays in the mind of the customer and is eventually the deciding factor to go again. The better they like a theatre performance, the ticket price matters less. (CBG Langeveld 2011) At the moment students will not easily visit a cultural event, because it is too expensive or unknown for them. (CJP,2005)

Classical and traditional genres (theatre performances) are visited less often than popular genres as cinema’s, concerts and festivals. Young adults are only interested in contemporary culture forms. The activities young adults are doing, need to connect with their youth-culture and lifestyle. (Cultuurnetwerk 2006) Young adults want cultural content that connects with their interests, like dance parties, festivals, band performances and so on. They literally want to create a place where they can meet each other and can do interesting activities. Art and culture have a negative image among young adults. They connect art and culture with ‘’people who they have nothing to do with and places where they do not want to be’’. Art and culture stands for paintings, images and activities where you can not be yourself and where rules are attached to. They get the feeling of intimidation. When it becomes clear to them that visiting a cinema or stand up comedian performance is also a cultural activity, they immediately think better about art and culture and the image becomes more positive and active. (Cultuurnetwerk 2006)

20 | SPW 2 · GROUP 19

4.2 Image question interview The question: ‘’Where do you think of when you hear Theaters Tilburg’’? Everybody answered that they think of a theatre. Nobody knows that ‘’Theaters Tilburg’’ also have a studio and concert hall in their building. When the target group knows that ‘’Theaters Tilburg’’ has more to offer than only a theatre, they become more interested. 4.3 Identity and image gap There are a few gaps between the image and the identity of ‘’Theaters Tilburg’’. They want to be something but reflect something different on the audience. ‘’Theaters Tilburg’’ wants to be the most interesting cultural meeting spot in Midden-Brabant. The gap here is that it is personal what ‘’the most interesting cultural meeting spot’’ is. Because young adults do not think ‘’Theaters Tilburg’’ is the most interesting cultural meeting spot yet. ‘’Theaters Tilburg’’ wants to increase their visitors in the age of 14-20 years with five procent. If they want to accomplish this, they need to adapt the way they communicate to the target group. Because young adults will only visit if they find the way of communicating interesting.’’ We can conclude that young adults in the age of 14-20 years can form a positive image about ‘’Theaters Tilburg’’. Their knowledge about art & culture is not up to date, but when they know that for example their own current activities also belong with the subject art & culture, their image will change about it. So it depends on the communication what kind of content/program ‘’Theaters Tilburg’’ has to offer. When the young adults will get in contact with the program of ‘’Theaters Tilburg’’ in a way that they find interesting, they will get a positive image and will visit the theatre. (In the target group analysis is also referred to the image of theatres.)

SPW 2 · GROUP 19 | 21

5. CONCLUSION & RECOMMENDATIONS 5.1 Conclusion The analysis shows that “Theaters Tilburg” has quite a few options to attract more young adults to the theatre. Interviewees were asked what they think about “Theaters Tilburg”, why and when they go to events or shows, what commercials they find interesting etc. This resulted in a long list of insights, which joined together, form an interesting array of options and recommendations. In order to attract the target group (14-20 y/o), these recommendations should be considered.

The app we want to create is similar to the festival app “I’m in”.

As far as communication goes, it is important to converse in a way that fits the target group. To gain trust and appreciation, communication and response to both positive and less positive comments/reviews could be highly beneficial for “Theaters Tilburg”. Especially on social media like Facebook, Twitter and Instagram. People want to be taken seriously and feel like their comments and suggestions are being taken into consideration. This builds loyalty and understanding within the target audience.

To activate the tickets you’ve just won, invite your friend to go along with you. If he or she accepts your invitation, the tickets are active and you can go for free together. Because people win tickets they will go to the show and come in touch with theatre. The people who went will tell their friends and hopefully like it and spread the word of mouth advertising.

Another thing that is interesting for “Theaters Tilburg” is the rapid changes in technology. In the analysis can be read about several notable developments in the entertainment industry. To attract and connect with the target audience, especially the young adults, it is important to keep up with these changes and technological developments.

Recommendation 2: TT Blog As mentioned before in the analysis, young adults occupy themselves with looking for blogs and reviews online. Therefore our recommendation consists out of appointing someone with a fresh, fun personality with writing and communication skills in touch with the target group and knows how to speak their language to write blogs about performances given at the theatre. It is important to have these blogs written by someone who is in tune with the target group, to come up with a blog that corresponds with the maturity level of the target group. Budget wise, if possible, we would advise to appoint a young employee who is already working at the theatre to write the blogs, because he or she is already a paid employee and has an overall knowledge of the theatre. This employee needs to be young, fresh, and in touch with the target group, since it makes communicating in the right tone of voice easier and intriguing. In case this is not an option we advise to invite young adults to visit performances and write a blog, for example by starting off with inviting a son or daughter of an employee that fits the target group or by inviting a pupil or young student from Tilburg.

As stated before, nowadays people are not as easily triggered as they were a few years ago. Expectations are high and there is a strong need for experiences that stimulates all senses. To create these experiences, transmedia storytelling is an important tool. 5.2 Recommendations Recommendation 1: Win ticket app Young adults do not know what “Theaters Tilburg” has to offer. Therefore they must be persuaded to visit the theatre. To achieve this we want to create an app where you can win tickets to the theatre. In this way we want to persuade young adults to go to the theatre.

How this app needs to work: If a performance is not sold out tickets will become available on the app. These tickets can be won by pupils and young students who have registered on the app. You win a ticket by taking part in the game “wheel of fortune”. The Wheel of Fortune is a roulette-style wheel mechanism. The more times you’ve been to a show the higher your chances to win.

This kind of app can be developed via the site appconcurrent. nl/app-laten-maken-prijs/ for a price of €999.

22 | SPW 2 · GROUP 19

This can be achieved by hanging up posters around town to attract the attention. In exchange for this service Theaters Tilburg could offer this student the possibility to visit performances for a year for free. As far as planning goes it is best to execute this advice, find the right person in line with the target group and start posting blogs right after the performance that is next up in the program of “Theaters Tilburg”, and from then on write a blog for every performance or show programmed. Executing this recommendation would mean “Theaters Tilburg” would either need to pay an (hourly) wage for the time spent on the blog or would have to pay for the costs for performances visited by the blogger during a whole year. Recommendation 3: Social media employee This recommendation is in line with recommendation 2: the advice is to appoint or hire one person for all the social media communication about Theaters Tilburg and to react frequently on online posts and messages of people – for example like how KLM does – in a funny, witty and playful way. By doing this the communication and the tone of voice will be the same for all social media platforms. Again: if possible, we would advise to appoint a young employee who is already working at the theatre to manage all the social media the theatre uses, because the tone of voice in the communication has to be the same for all platforms. This employee needs to be young, fresh, and in touch with the target group, since it makes communicating in the right tone of voice easier and intriguing and it will get the attention of the young adults. Executing this recommendation would mean “Theaters Tilburg” would simply need to pay an hourly wage.

Recommendation 4: Increase overall interaction with the target group Provide the chance for young adults to come up with a show by and for young adults to become more involved and add a way of transmedia storytelling in this show. By advertising with posters throughout the city it is possible to look for young adults interested in theatre and invite them to work together in a group and devise a show. We would also recommend contacting the schools in Tilburg, tell them about this idea and either provide posters to hang up in the schools or ask the teachers to tell the students. In this show made by and for young adults we recommend to insert transmedia storytelling as well. The idea behind this is to have an app (the app from recommendation 1 can be used for this idea) and make the show more interactive by having the young adults give the audience small assignments via this app during the show. To make this interactive show even more interesting for the audience “Theaters Tilburg” can offer a prize to win by using the app during the show. This recommendation would cost €999 for the app, and a certain amount for the mentioned prize (the cost for this prize will be determined by the theatre). Recommendation 5: TT Card We recommend having the option for the target group to subscribe on the website of “Theaters Tilburg”. Here young adults can opt to pay a monthly fee and in return pay unlimited visits to the theatre. An example of how card would work is the Pathé gold card. The advantage for “Theaters Tilburg” is to have a certain amount of money coming in every month for every subscription, and the target group will be more likely to visit the theatre more often, since they are already paying for it. The monthly fee will be determined by looking at the program during the course of a year and the costs of separate tickets.

SPW 2 · GROUP 19 | 23

6. CONCEPT

WHATEVER IT TAKES Introduction Children in the age of 14-20 years are in puberty. This is the time where they have to develop their own identity with a lot of struggles. Struggles as fighting with parents, not accepting no for an answer and constantly looking for adventure. Substantiation As a result from our research it turns out that young adults in the age of 14-20 years are really inconsistent. They want to do everything that they are not allowed to do. Friends are the most important at this age. When your friends are doing something, you will automatically follow them. It is important what they think of you (image) and if you belong in the group. According to art and culture the threshold of visiting a cultural institution is big for this target group. It is unknown territory for them, they think it is for education instead of amusement and they formed a typical image of cultural institution. Character Nick is a 16 year old boy, who lives with his parents and is dealing with the issues of puberty. His parents want to be involved in his life and it is driving him crazy. He wants to be treated as a grown-up, because he is an adult already in his eyes and can easily take care of himself. Nick and his friends love to hang around and are constantly looking for exciting adventures. Story Nick has an argument with his father. He is grounded for something he did and he cannot go out tonight, but he made plans with a friend and he really needs to go! He cannot miss this big event. For weeks he has been waiting for this evening to come. Of course Nick gets angry with his father. He slams the door and runs upstairs. When he enters his bedroom and sits down on the bed, he is texting his friend that he cannot go tonight. His friend says she is grounded too, but she is going anyway. Nick decides to take a risk. He is going! They will see each other at their meeting place in the city.

He runs to the meeting place and in the meanwhile he searches for his friend. They bump in to each other and give each other a hug. Suddenly Nick’s father calls. He has to choose: Pick up or ignore? He decides to ignore the call, because his adventurous evening is more important. During the running they face a few obstacles. A gate and a bridge. Finally their destination is in sight. They made it and relieved faces are showing. They look at each other and then enter the building. As the camera zooms out, you can see they went to ‘’Theater Tilburg’’. They overcome so much struggles to get there because it is worth it. They cannot miss it. Video message In this video we want to show you two typical young adults in the area of being inconsistent, using a lot of technology and always looking fora n exciting adventure. They are doing whatever it takes to accomplish their goal. And their goal in this video is to go to the theatre, no matter what. They were not allowed, but decided to go anyway. The exciting journey to get to the theatre becomes an adventure. This tension is characteristic to the excitement and fun experience that you get in the theatre. During the journey they face obstacles and that will show the viewer that going to the theatre is more exciting than you think it is. Are you also willing to do whatever it takes to attend an exciting theatre performance?

Nick cannot go out using the front door, so he has to climb out of the window. He has no other choice. As quite as he can, he climbs out of the window and runs to his bike. In a hurry he rides to the city, where he is going to meet his friend. When he is near the city, he drops his bike and is going on by foot.

24 | SPW 2 · GROUP 19

Shot list 1. First person: blurred image becomes clear. Angry mother/father pointing at him. Only showing torso. 2. Wide angle: livingroom, mother/father and Nick facing each other 3. Nick slams the door: close up while closing 4. Nick is running up the stairs: close up feet OR first person running up 5. Nick is entering his bedroom: over the shoulder 6. Walks in his bedroom: wide angle 7. Nick is sitting down on his bed and grabs his smartphone: wide angle bedroom 8. Nick on bed, wide angle: Nick is texting his friend and whatsapp messages appear in the image. OR over shoulder shot, you are looking on Nick’s phone and whatsapp messages appear on his phone and you see him typing. 9. Nick stand up full of energy because he is going anyway, But he is confused. He looks at the window because he cannot use the front door, wide angle bedroom 10. From the outside, Nick opens window and jumps out. Wide angle house 11. Nick grabs his bike, close up and wide angle 12. First person while riding the bike, little bit of struggles 13. Nick drops down his bike and is going on by foot, wide angle 14. Fist person, he runs to the meeting place and bumps into his friend 15. Back angle, they go on running together 16. First person, They bump into a wildly barking dog, they got scared and go on running 17. Only faces filmed, they hear sirens behind them so they start running even harder 18. First person, they are running slower and slower 19. Only faces filmed, they see the building, relieve, they are finally there, emotions 20. Wide angle building, two people in front of building giving each other high-fives and walk into the building 21. Camera slowly zooms out and the title TT appears 22. Image black, slogan appears.

SPW 2 · GROUP 19 | 25

BIBLIOGRAPHY Bertoni, S. (2014, 02 21). How Do You Win The Mobile Wallet War? Be Like Starbucks. Retrieved 12 01, 2014, from Forbes: http:// www.forbes.com/sites/stevenbertoni/2014/02/21/how-do-you-win-the-mobile-wallet-war-be-like-starbucks/ Redactie Volkskrant. (2014 , 11 24). Populaire Dubsmash-app bovenaan hitlijsten. Retrieved 12 01, 2014, from Volkskrant: http:// www.volkskrant.nl/tech/populaire-dubsmash-app-bovenaan-hitlijsten~a3800162/ Rieja. (2014, 04 03). Smartpass en de digitale portemonnee. Retrieved 12 01, 2014, from infonu.nl: http://electronica.infonu.nl/ telecom/129809-smartpass-en-de-digitale-portemonnee.html Rovers, M. (2013, 12 03). Eventtrends in 2014. Retrieved 12 01, 2014, from crossmedialab.nl: http://www.crossmedialab.nl/blog/ post/325/Eventtrends-in-2014 Solaris, J. (2013, 12 10). 10 event trends for 2014. Retrieved 12 01, 2014, from Event Manager: http://www.eventmanagerblog. com/10-event-trends-2014 Ticketscript. (2014, 01 09). De 5 belangrijkste trends voor evenementen in 2014. Retrieved 12 01, 2014, from Ticketscrips: http:// company.ticketscript.com/nl/blog/evenement-tips/de-5-belangrijkste-trends-voor-evenementen-in-2014/765/ Nederlands Jeugd Instituur (2014), Cijfers over jeugd en opvoeding, Retrieved on Dember 1, For more information: http://www.nji. nl/nl/Databanken/Cijfers-over-Jeugd-en-Opvoeding/Cijfers-per-onderwerp-Mediagebruik Looze, M. de, Dorsselaer, S. van,Roos, S. de,e.a. (2014). Gezondheid, welzijn en opvoeding van jongeren in Nederland, HBSC 2013. Utrecht: Universiteit Utrecht, Retrieved on December 1 2014 Bas Delmee, Derk Zijlker, Maxime Rooijmans, Sander Metaal, Tesssa van Groenestein, Walter Groenen, Anneke van der Vaart (2012), Het Cultureel Jongeren Profiel, Retrieved on December 1 2014, For more information: http://www.kunstcontext.com/ckv/ cjprofiel.pdf

B ti

B v

G v

G S

G 2

G S

G T

G S

G v

G G

R r

V r

B. Janssen (2014). Hoe bind en boei je generatie Y? (http://www.penoactueel.nl/Personeel/Algemeen/2014/10/Hoe-bind-en-boeije-generatie-Y-1623858W/)

T h

Youngworks (2011). Tweederde jongeren ge茂nteresseerd in cultuur (http://blog.youngworks.nl/facts/tweederde-jongeren-geinteresseerd-in-cultuur)

T h

M. Spek (2014) Bent u al klaar voor generatie Z? (http://www.talentblu.com/bent-u-al-klaar-voor-generatie-z/)

F h

B. Janssen (2014). Hoe bind en boei je generatie Y? (http://www.penoactueel.nl/Personeel/Algemeen/2014/10/Hoe-bind-en-boeije-generatie-Y-1623858W/)

F h

J-P. Lacroix (2010). Marketing to Generation Y understanding and appealing to the Millennial generation (http://www.sldesignlounge.com/wp-content/uploads/2010/10/White-Paper-Gen-Y.pdf)

T h

J-P. Lacroix (2010). Marketing to Generation Y understanding and appealing to the Millennial generation (http://www.sldesignlounge.com/wp-content/uploads/2010/10/White-Paper-Gen-Y.pdf)

B h

Youngworks (2012). Top 10 jongerentrends voor 2013 (http://blog.youngworks.nl/trends/top-10-jongerentrends-voor-2013)

N w C

J. W. Doorenbos (2011).Wie is Generatie Z en hoe bereik je ze? (http://www.frankwatching.com/archive/2011/11/10/wie-is-generatie-z-en-hoe-bereik-je-ze/) T. Spiegelenberg (2014). Gen Z is minder gemotiveerd door geld dan Gen Y (http://www.tocontinyou.nl/gen-z-is-minder-gemotiveerd-door-geld-dan-gen-y/)

26 | SPW 2 路 GROUP 19

C h

Brabants Dagblad. (2013, May 19). Regio. Opgeroepen op September 22, 2014, van Brabants Dagblad: http://www.bd.nl/regio/ tilburg-en-omgeving/tilburg/gratis-wifi-in-tilburg-en-36-andere-steden-1.3723344 Brink. H van der, G. T. (2013, December 6). Visie op regio’s in 2014. Opgeroepen op September 22, 2014. van ING: http://www.ing.nl/Images/EBZ_Visie-op-regios-in-2014_tcm7-150770.pdf Gemeente Tilburg. (2010, October 10). Quality of life, report mark. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2010, November 10). Woningvoorraad. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2011, September 26). Bedrijvigheid, werkgelegenheid. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://www.tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2011, September 22). Etniciteit inwoners. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2013, February 26). Bevolking. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://www.tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2013, February 26). Bevolking, aantal. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://www.tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2013, February 26). Bevolking, leeftijdsopbouw. Opgeroepen op September 22, 2014, van Stadsmonitor Tilburg: http://www.tilburg-stadsmonitor.buurtmonitor.nl/ Gemeente Tilburg. (2013, October 1). Tilburg in cijfers. Opgeroepen op September 22, 2014, van Gemeente Tilburg: http://www.tilburg.nl/fileadmin/files/stad-bestuur/stad/tilburg-in-cijfers-2014.pdf Rijksoverheid. (2013, January 1). Kunst- en cultuurbeleid. Opgeroepen op December 1, 2014. Van Rijksoverheid: http://www. rijksoverheid.nl/onderwerpen/kunst-en-cultuur/kunst-en-cultuurbeleid Volkskrant. (2012, May 3). Lang niet alle tickets goedkoper na BTW-verlaging. Opgeroepen op December 1, 2014. Van de Volkskrant: http://www.volkskrant.nl/dossier-lowlands/lang-niet-alle-tickets-goedkoper-na-btw-verlaging~a3250036/ Theaters Tilburg, Wie zijn wij, 2014, retrieved on December 1, 2014 http://www.theaterstilburg.nl/10/wie-zijn-wij Theaters Tilburg, Toekomstvisie 2013 - 2016, 2013, retrieved on December 1, 2014 http://theaterstilburg.nl/files/content/toekomstvisie_20132016_TheatersTilburg_1.pdf Flickr.com, retrieved on December 1, 2014 https://www.flickr.com/photos/74218529@N05/ Facebook.com, Theaters Tilburg, retrieved on December 1, 2014 https://www.facebook.com/theaterstilburg?fref=ts Twitter.com, Theaters Tilburg, retrieved on December 1, 2014 https://twitter.com/TheatersTilburg Blogspot.com, Theaters Tilburg, retrieved on December 1, 2014 http://theaterstilburg.blogspot.nl NRC Handelsblad 2005, CJP-Onderzoek: Jongeren vinden kunst saai, Retreived on 3 December 2014, For more information: http:// www.nrc.nl/handelsblad/van/2005/oktober/11/cjp-onderzoek-jongeren-vinden-kunst-saai-10638272 CBG Langeveld 2011, Hoe verkopen we Cultuur, Retrieved on 3 December 2014, For more information: metis_197673-2.pdf Cultuurnetwerk Nederland 2006, Zicht op… Jongeren en cultuurdeelname, Retrieved on 3 December 2014, For more information: http://www.cultuurnetwerk.nl/producten_en_diensten/publicaties/pdf/Zichtopjongerencultuurdeelname.pdf

SPW 2 · GROUP 19 | 27

28 | SPW 2 路 GROUP 19

APPENDIX

SPW 2 路 GROUP 19 | 29

City centre Inhabitants total

Oud-‐ Oud-‐Zuid Noord

6360

39153

West

32799

Noord

30114

Oost

22787

Zuid 764

Reeshof

14659

Unknown

42949

Total

189585

Appendix 1. Age categories

City centre

Oud-‐ Oud-‐Zuid Noord

West

Noord

Oost

Zuid

Reeshof

Unknown

Total

M + V 00 -‐ 04 year

119

1961

1660

1480

1368

713

2940

10274

M + V 05 – 09 year

1519

1283

1333

1345

780

3417

9771

M + V 10 – 14 year

1381

1219

1377

1366

900

3672

9991

M + V 15 -‐ 19 year

262

2058

1944

1688

1401

891

3112

11403

M + V 20 -‐ 24 year

1177

4887

4364

3341

1279

1022

2113

18241

M + V 25 -‐ 29 year

989

3783

3414

2505

1364

753

1995

14829

M + V 30 -‐ 34 year

494

3219

2831

2082

1396

813

2750

13624

M + V 35 -‐ 39 year

304

2820

2182

1646

1254

853

3437

12534

M + V 40 -‐ 44 year

257

2584

2261

1747

1610

946

4519

13978

M + V 45 -‐ 49 year

222

2418

2105

1794

1582

1054

4296

13549

M + V 50 -‐ 54 year

288

2251

2013

1876

1461

1177

3310

12453

M + V 55 -‐ 59 year

289

2307

1837

1573

1394

1293

2406

11147

M + V 60 -‐ 64 year

394

2239

1600

1601

1606

1327

1716

10551

M + V 65 -‐ 69 year

411

1906

1337

1514

1533

997

1335

9078

M + V 70 -‐ 74 year

270

1284

967

1394

1159

484

810

6415

M + V 75 -‐ 79 year

244

976

724

1310

796

359

550

4986

M + V 80 -‐ 84 year

252

740

543

1049

543

178

349

3668

M + V 85 -‐ 89 year

158

527

329

567

249

168

2094

M + V 90 -‐ 94 year

249

151

202

839

M + V 95 -‐ 99 year

152

M + V 100 + year

Appendix 2. City areas City centre

2003

2013

5475

6360

Oud-‐Zuid

37356

39153

Oud-‐Noord

30898

32799

West

29358

30114

Noord

23971

22787

Oost

773

764

Zuid

15069

14659

Reeshof

35979

42949

178881

189585

Unknown Total

Appendix 3.

(Tilburg, 2009)

(Tilburg, 2009) Appendix 4.

% autochtoon M+V

% westerse allochtoon M+V

% niet-‐westerse allochtoon M+V

City centre

83,5

10,3

6,3

Oud-‐Zuid

79,7

11,3

Oud-‐Noord

West

9,7

25,3

Noord

9,7

31,4

92,1

1,9

Oost

Zuid

79,2

8,3

12,5

Reeshof

82,3

9,2

8,4

76,7

14,3

Total

Appendix 5. Single-‐family homes

Houses (total number of houses)

City areas City centre

Multi-‐story dwellings

(houses)

3390

510

2876

Oud-‐Zuid

18453

11455

6987

Oud-‐Noord

14389

10123

4259

West

13548

7284

6259

Noord

9951

5434

4517

Oost

323

306

Zuid

6050

5290

760

14878

13739

1139

Reeshof Unknown

-‐

Total

80955

-‐ 54141

26814

Appendix 6. City centre

Oud-‐ Oud-‐Zuid Noord

West

Noord

Oost

Zuid

Reeshof

Unknown Total

Working people (M+V fulltime)

8986

12989

10219

14125

16905

4798

15062

4100

268

87452

Working people (M+V, parttime)

2760

2362

2432

2690

1847

647

2656

1583

129

17106

11746

15351

12651

16815

18752

5445

17718

5683

397

104558

Total number of jobs (M+V)

Appendix 7. Do the residents in your neighbourhood

Do you have contact with the residents of your

Do you think it is important to have contact with the residents in

What do you think of the social What mark do involvement of the you give your residents of your neighbourhood in

participate in a nice way? [report mark]

neighbourhood? your neighbourhood? [report mark] [report mark]

neighbourhood?

general?

[report mark]

City centre

6,91

6,38

7,02

6,08

7,28

Oud-‐Zuid

6,78

6,35

7,07

5,92

7,1

Oud-‐Noord

6,63

6,24

7,06

5,72

6,74

West

6,97

6,59

7,35

6,11

7,31

Noord

6,81

6,66

7,39

5,94

6,99

Oost

7,28

6,89

7,52

6,13

7,76

Zuid

7,08

6,72

7,37

6,09

7,4

Reeshof

7,11

6,86

7,43

6,08

7,48

Unknown

-‐

Generally

-‐ 6,88

-‐ 6,54

-‐ 7,25

Appendix 8.

Students in Tilburg on 1-‐10-‐2013 Number of students Elemantary school

16.816

Special elemantary school

792

Special education

479

Special higher education

481

Practical education

227

Connection year

5.877

Vmbo

2.707

Havo

1.915

Vwo

1.846

MBO

14.309

HBO

16.333

-‐ 5,96

7,15

Universiteit van Tilburg

12.599

Total number of students

74.381

Appendix 9.

STORYBOARD

SPANNENDER DAN JE DENKT!