The Social Stratification of Theatre, Dance, and Cinema Attendance Study Notes

  • Authors: Tak Wing Chan & John H. Goldthorpe

  • Publication: Cultural Trends, Vol. 14(3), No. 55, September 2005, pp. 193–212

  • DOI: 10.1080/09548960500436774

Introduction

  • Context: The research investigates the complex relationship between societal inequalities and cultural consumption trends, focusing particularly on attendance patterns in theatre, dance, and cinema. Understanding this intersection is critical for assessing how cultural access varies among different social strata.

  • Research Goals:

    • Analyze and interpret empirical data collected from a comprehensive research project aimed at understanding cultural attendance.

    • Critically assess three prominent sociological arguments that explain cultural consumption behaviors:

    1. Homology Argument: Suggests a direct correlation between social class and cultural preferences, positing that those in higher social classes align with so-called 'high' culture while those in lower classes favor 'popular' culture.

    2. Individualization Argument: Argues that cultural tastes are becoming less dependent on social class, instead increasingly reflecting personal choices and identities shaped by individual characteristics (e.g., age, gender).

    3. Omnivore-Univore Argument: Proposes that individuals from higher social classes have a broader cultural scope, consuming a mix of both high and low culture, in contrast to lower strata who mainly engage with popular culture.

  • Previous Work: This study builds on prior research that predominantly examined musical consumption patterns. The conclusions drawn from those studies suggest robust support for the omnivore-univore argument. This paper aims to extend the analysis to the contexts of theatre, dance, and cinema attendance, thereby enriching our understanding of cultural consumption across different domains.

Methodology

Data Source

  • Survey: The primary data is sourced from the Arts in England survey conducted in 2001, which is known for its expansive reach and detailed demographic insights.

  • Sample: The dataset comprises 6,042 completed interviews focused on individuals aged 20 to 64. After rigorous data cleaning, a refined sample of 3,819 respondents was utilized for analysis to ensure quality and relevance.

  • Questions Analyzed: The survey included questions about attendance at various cultural events such as plays, musicals, pantomimes, ballet, diverse dance forms, and general cinema attendance, allowing for a comprehensive overview of cultural engagement.

  • Analysis Focus: The study primarily emphasizes patterns of attendance rather than the outcomes of individual survey responses, facilitating a broader understanding of attendance dynamics.

Social Stratification Measures

  • Class: Class is operationalized through the National Statistics Socio-Economic Classification (NS-SEC), which rigorously categorizes individuals based on their occupation and economic status.

  • Status: The study also introduces a novel 31-category scale developed to analyze occupational friendship patterns, giving insights into social networks and their impact on cultural preferences.

  • Additional Variables: The research controls for variables such as education level and income to further assess their independent influences on cultural consumption, offering a multifaceted understanding of attendance patterns.

Major Arguments

1. Homology Argument

  • Definition: This argument asserts a close correlation between an individual’s social status and their cultural tastes, proposing that those higher on the social ladder gravitate towards classical cultural forms while those from lower classes tilt towards mass entertainment.

  • Critique: The paper discusses the concept of aesthetic distancing, illustrating how dominant classes use cultural preferences to maintain social supremacy and discourage cross-class cultural engagement.

2. Individualization Argument

  • Definition: It suggests that cultural preferences are increasingly shaped by individual identities rather than social origins, thereby promoting a personalized approach to cultural consumption.

  • Critique: The study critiques this argument for overlooking persistent social influences that continue to dictate access to and preferences for various cultural forms.

3. Omnivore-Univore Argument

  • Definition: Higher social strata are characterized by a diverse consumption of cultural forms including both elite and popular genres, while lower strata (univores) predominantly consume mass entertainment sources.

  • Supporting Data: The empirical evidence supports stronger correlations for the omnivore-univore argument in the context of musical consumption compared to evidence derived from theatre and cinema attendance, suggesting unique consumption behaviors across different art forms.

Latent Class Analysis

  • Purpose: This analysis aims to identify distinct consumer classes relative to theatre and cinema attendance, enhancing understanding of cultural engagement dynamics.

  • Results: The analysis identifies two distinct classes within the sample:

    • Latent Class 1 (Univores): Comprising 62.5% of the sample, this group displays a low probability of attending theatre events, with a predominant focus on cinema.

    • Latent Class 2 (Omnivores): This class makes up 37.5% of the sample and exhibits a high probability of attending diverse theatre and cinema events, indicating a rich cultural engagement.

  • Conclusion: The findings substantiate the omnivore-univore argument and challenge the notion of an exclusive cultural elite, revealing broader attendance profiles among audiences.

Results: Social Stratification and Attendance Patterns

  • Stratification Layers: The analysis of class and status reveals significant correlations with the likelihood of individuals identifying as omnivores or univores.

  • Findings:

    • Individuals classified as omnivores are significantly affiliated with higher managerial and professional roles, displaying a rich engagement with various forms of culture.

    • Conversely, univores find their representation mostly within lower supervisory, semi-routine, and routine occupational categories, highlighting employment-related cultural habits.

  • Notable Trends:

    • The status of individuals emerges as a key determinant for omnivorous consumption, having a more profound impact than class alone.

    • Higher educational attainment is directly linked with a greater likelihood of exhibiting omnivore tendencies.

    • While income factors play a crucial role in dictating theatre and cinema attendance, their significance diminishes in the context of musical engagement.

Conclusion

  • Summary of Findings: This comprehensive empirical analysis largely supports the omnivore-univore argument specific to theatre, dance, and cinema, highlighting the relevance of social stratification in cultural consumption behaviors.

  • Further Research Directions:

    • The study advocates for deeper investigation into the influences of education and economic resources on cultural omnivorousness, promoting the understanding of cultural access across different segments of society.

    • Additionally, it suggests the examination of cultural domains beyond those focused on in this research to explore whether similar patterns emerge.

References

  • The study references notable works by Bourdieu, Peterson, and Bauman, which provide theoretical foundations for the arguments explored. It also discusses how sociological factors like gender, age, region, and education influence cultural consumption, providing a more nuanced understanding of the cultural landscape.

Acknowledgments

  • The authors express gratitude to Arts Council England for facilitating access to the essential datasets required for this comprehensive research, underscoring the collaboration between academic research and cultural institutions.