In the 22 years that Square Holes has been in operation, arts and culture have been at the cornerstone of our offering. We have partnered with seminal institutions like State Theatre Company South Australia (STCSA), State Opera South Australia (SOSA), Adelaide Film Festival (AFF), and Music Development Office (MDO).

Australia’s arts and cultural sector plays a significant role in both our identity as a nation and the economy. Government data shows that the cultural and creative industries contribute approximately A$60–70 billion annually to the Australian economy, accounting for around 3–4% of GDP.

The sector encompasses a wide range of activity — including performing arts, music, film and television, publishing, architecture, design, and digital media — and supports more than 600,000 jobs across the country. This positions the arts not only as a cultural asset, but also as a substantial economic driver.

According to the Australian Bureau of Statistics (ABS) and the National Arts Participation Survey conducted by Creative Australia, around nine in ten Australians engage with the arts each year, whether by attending live performances, visiting galleries and museums, streaming creative content, or practicing creative activities themselves.

Roughly three-quarters of Australians attend at least one arts event annually, highlighting the sector’s broad social reach and importance to community wellbeing.

However, despite the importance of our cultural output, the data also reveals ongoing structural challenges. While creative industries employment is significant, research such as Making Art Work: An Economic Study of Professional Artists in Australia shows that many professional artists earn below the national average income and often rely on freelance or portfolio careers. The sector is highly skilled — with a majority of artists holding tertiary qualifications — yet income stability remains uneven. Together, these findings reflect a sector that is culturally vibrant and economically meaningful, but one that continues to navigate funding pressures, income precarity, and post-pandemic recovery factors.

Our work within the arts sector has traversed a wide range of topics, but one central focus that comes up time and time again is the changing behaviours of audiences.

For Mat Kesting, Chief Executive and Creative Director of the Adelaide Film Festival (AFF), that looks like younger audiences taking part.

“In recent years, AFF has seen the median age of our audience trend younger as a result of programming decisions, the establishment of dedicated youth programs as well as a ticketing strategy that includes pay-what-you-can options for students and health-care card holders,” says Kesting.

“AFF Investments, such as Talk to Me and Mockbuster, have also engaged younger audiences, which I’ve noticed in person when introducing these films to sold-out houses. This has not been at the expense of loyal audiences but does reflect the evolution of the film festival’s demographic.”

Kristy Rebbeck, Head of Marketing & Customer Service at State Theatre Company South Australia, reveals that COVID has played a part in how audiences engage with cultural experiences.

“Practically, we’ve seen changes in booking patterns, attendance behaviour and an increased need for flexibility. Audiences want reassurance — around refunds, exchanges and health considerations — and that’s reshaped how we operate,” says Rebbeck.

“Emotionally, COVID reinforced how essential live theatre is. During lockdowns, people realised how much they missed shared experiences. There’s now a deeper appreciation for being in a room together, witnessing something live and unrepeatable. However, cost-of-living pressures following the pandemic mean audiences are more selective. That makes it even more important that we create work that feels urgent, high-quality and worth prioritising.”

This has translated into more spontaneity from audiences when it comes to booking in for shows.

“We’re seeing more spontaneous decision-making — people are booking closer to performance dates rather than locking in months ahead. There’s also a strong desire for connection and relevance. Audiences are looking for work that feels immediate, distinctly South Australian, and reflective of the world they’re navigating right now,” adds Rebbeck.

“At the same time, expectations around experience have evolved. It’s not just about what happens on stage — it’s about the whole journey: accessibility, pricing flexibility, digital engagement and feeling part of something bigger than a single night out.”

For State Opera South Australia, they are seeing more and more first-timers come through their doors. Nick Crabb, Head of Marketing & Development, believes this is because SA audiences are looking for unique experiences.

“We continue to see a growing segment of first-time audiences coming to our productions. I have talked to many of them over our last few productions and I often get the same response, ‘We just wanted to try it’. South Australian audiences are spoilt for choice when it comes to theatre and entertainment options, and as the custodian of the operatic artform in this state, it is up to us to create an understanding of what an opera experience involves and invite the community to make that wise choice to choose us over a different/competing artform,” says Crabb.

At the start of the pandemic, arts and recreation services were the hardest-hit industry sector in Australia, with only about 47 % of businesses still operating by late March/early April 2020 due to lockdowns and restrictions on gatherings — fewer than any other sector tracked at the time.

Which means that now more than ever, Arts instutions need your support. For AFF that looks like;

“Buy tickets! Join the AFF Luminaries (donor circle)! And write to your local MP and reinforce the value of the arts to our state and encourage the prioritisation of our festivals and cultural institutions,” says Kesting.

For Rebbeck and STCSA that means audiences taking a risk.

“The most powerful way to support us is simply to show up. Buy a ticket. Bring a friend. Take a risk on a new work. Become a subscriber. Every seat filled sustains not only our company, but the broader South Australian creative community — artists, technicians, designers, local businesses,” says Rebbeck.

“And perhaps most importantly: talk about it. Share your experience. Theatre thrives on conversation.”