Arts Intranet

Melanie Harker

After such an amazing experience last year in Portland, I am delighted to be returning with fellow dog & pony dc conspirator Rachel Grossman to Americans for the Arts' National Arts Marketing Project Conference in Atlanta. This year’s conference theme of “all the places we’ll go” caught my eye for two reasons; first due to the well-executed Dr. Seuss reference, and second because of the definition of “we.”

Who is the “we” in “all the places we’ll go”?

The obvious “we” is the arts administrator. The marketer. The engagement manager. The managing director. The donor relations associate. The small army of hard working people who work tirelessly to make sure the art happens, that it has a space, and that people hear about it.

Laura Kakolewski

We've already begun the countdown to the 2014 National Arts Marketing Project (NAMP) Conference! With just 6 weeks remaining, what better way to kick off a convening on the future of arts marketing than an online discussion with you and some of the best minds in the business (many of whom will also be speaking at NAMPC!)?

This year’s theme,  All the Places We’ll Go!  sets the stage for exploring the future of arts marketing – together. With over 600+ arts leaders in attendance, we’ll investigate strategies for digital storytelling, how technology such as Google Glass is redefining engagement, audience diversification initiatives, and much, much more. Between three inspiring keynotes, group workshops, a reception at the legendary Woodruff Arts Center, and even some morning yoga, this year’s NAMP Conference is going is sure to supercharge both your organization as well as your day-to-day work.

Erin Marie McDonald

Over the past few weeks, I’ve reflected on the 2013 National Arts Marketing Project Conference in Portland, Oregon. This was my first year attending NAMPC and I left with more than I imagined. Although the conference was filled with brilliant colleagues and inspiring sessions, my biggest take-away and learning experience came from an unscheduled, happenstance moment in the Speakers Prep room with an Americans for the Arts staff member.

First, let me provide a little context: I work at an art organization that was founded five years ago. As the newest addition to the now five-person team, I’m holding down the first communications/community engagement position in our small, yet dedicated office.

At the conference, I was scheduled to assist Danielle Williams, the website and new media manager at American for the Arts, with an interview for its blog. Unfortunately, the interview subject did not show up. However, this turned out to be an ideal opportunity for me to see ideas from many of the workshops put into direct action. Following the canceled video interview, Danielle had another appointment planned; it was a website user experience test for the new American for the Arts site.

Carol Jones

I live and work in a small city, the capital of a small country that has four times more sheep than people. Cardiff (www.visitcardiff.com) has a population of less than 350,000 but has a growing reputation as a vibrant city where people want to live and visit. It has, as we say in Wales, ‘hwyl’ – a complex and intangible mix of passion and sense of belonging that isn’t easy to translate but has been said to sum up Welshness in a word.

The contribution of creativity to the social and economic success of cities is a hot topic. And that’s no surprise…CREATIVITY MATTERS. It can drive economic opportunity, aid social problem solving and cohesion, generate new ways of thinking or bring together established ideas in new ways to drive things forward.

But it’s not just about economic growth – creativity can make our cities a better place to live and somewhere more exciting and stimulating to be, to work and contribute. Creative cities are also often better governed and better organized places – though perhaps it’s difficult to discern if better government produces more creativity or more creativity makes better government. (Though I know what I think.)

Either way our cities can be hotbeds of creativity - full of the buzz of arts venues, bars and restaurants and awash with architect-designed buildings. But it’s about more than that, more than being a hub for enterprise and culture even. Creative cities provide countless opportunities for everything from accidental connections to formal collaborations. And it’s those opportunities, those sparks that act as a catalyst for new thinking and innovation.

Ron Evans

I remember three or four years ago when the big push for many arts groups was the learn to embrace social media. Facebook was booming for both business and personal pages, and nobody wanted to be left behind. Back then, you could still get a good bang for no buck on Facebook if you created helpful, personal posts. Sadly, recent changes to Facebook tell a different story. Facebook can still be an effective visibility tool, but only if you are willing to allocate a budget to Facebook to be able to reach not only new people, but increasingly to reach the people who have already connected with you.

While I think we've all known that not everyone sees our posts when we post on Facebook (Facebook has an algorithm called EdgeRank that defines who will see your posts), we used to be able to reach most people for free. In May 2012, Facebook launched a new feature called “promoted posts,” which allows a user to pay money to make sure that his/her posts will reach his/her audience. For example, if you have 1000 people who had liked your page, and you want to make sure 90% of them see your post, you pay for that service. Facebook is traded publicly and they need to make money, I think we all get that. But what also seems to have happened (although Facebook denies this) is that the percentage of your connections who will see your post if you don't pay has been reduced more and more since then. Some reports claim that as few as 16% of your connections will see a post if you don't pay. That's a big drop from 1000 connections – that's only 160 people seeing your post. While these might be the “top” people from Facebook's perspective, it sure cripples unpaid outreach potential.

But let's forget about percentages for a minute. Let's compare Facebook marketing to email marketing. Say I offered a new, free email marketing service. You put in 1000 email addresses and send out a newsletter. I then tell you that only 160 people on your list got your newsletter, but if you want to pay, you could reach 900 or so of your 1000 like Facebook does. Would that be acceptable to you? I want to reach all my people if I pay. To me, it sounds like a business that wouldn't be in business too long as a free service, and questionable as a paid service. But that Facebook gets away with this shows how powerful many of us feel social media is.

 

The National Arts Marketing Project Conference is just over 1 month away and I’m thrilled to be both attending and speaking for the very first time. But what I’m most excited about is the theme: “Powered by Community.” Already, I’ve met so many amazing new people online through the conference Twitter hashtag (#NAMPC) and the Linkedin group. And meeting these people has reinforced just how powerful the online world can be in forging meaningful, long-lasting relationships. Furthermore, it has reminded me how crucial participation is to the success of an event, beyond just the act of attending of course. So I’ve rounded up a few of my favorite examples from arts and culture organizations who have successfully encouraged their audiences to participate on a deeper level:

1. American Museum of Natural History (AMNH) Tweetups: AMNH understood the significance of Twitter from an early start. Since 2010, they’ve been holding special tweetup events that offer a behind-the-scenes look at various exhibits. Most recently, they held the Whales Tweetup, allowing visitors to view whale specimens and listen to whale vocalizations after hours. And prior to Whales, they invited guests to explore Our Global Kitchen , where guests enjoyed wine, chocolate, and cooking lessons, all while tweeting. These Tweetup events result in hundreds of tweets, with the potential to reach thousands.
2. Diablo Ballet’s Crowdsourced Ballet: At the beginning of 2013, California-based Diablo Ballet asked their Facebook and Twitter followers to suggest ideas for a brand new ballet by tweeting to their page, using the hashtag #DiabloWebBallet. Followers were asked to suggest the theme and mood of the piece, as well as specific dance moves, ultimately resulting in the creation of the first-ever crowdsourced ballet.
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Portland, Oregon is the home to this year’s National Arts Marketing Project (NAMP) Conference: Powered by Community. You can look forward to conversations about audience diversification, strategies for engaging college students, using augmented reality, the top telemarketing tips, and so much more.

This year’s keynote speakers are creative change agents, community builders, and marketing gurus – Kevin Carroll, Matt Stinchcomb, and Pamela Moore. From Matt’s lessons on community building from the D.I.Y marketplace Etsy to Pam’s arsenal of tactics to keep your online communities striving, this year’s keynotes will leave you inspired and recharged to collaborate with your communities on a more meaningful level.

Katryn Geane

 

While sitting in the second row of seats looking at heat and confetti maps of sample websites, I was reminded of the number one reason I love attending the National Arts Marketing Project Conference (NAMPC): all these smart people are sharing information that I get to go home and use, and everyone else will think I'm a genius.

OK, maybe not that last part, but how lucky can we get with colleagues who are willing to help us out like this? I'm as much of an internet nerd as the next new media manager, but it seems that there's a new resource or tool every week that promises to track, update, monitor, and help you do something with your website, and I can't be the only one who doesn’t have oodles of extra time to be cruising the internet testing new tools.

In the measuring and improving your ROI session, Caleb Custer and Dan Leatherman presented a metrics-driven and scientific method-inspired "try, learn, think" cycle for testing and implementing changes to an organization's website.

By using tools they introduced as well as now old standards like Google Analytics, they urged us to "prove the user's expectations right and they will feel more in control" (paraphrased from Jakob Nielson) and therefore happier with their experience with your site.

Plunk, Clue, Crazy Egg, and others were offered as options for testing user interface, and there were resources for tracking links, segmenting visitors, optimizing landing pages, and then even more about email layout and design, A/B testing…and so on, and so on…and more.

Megan Pagado

One of my favorite sessions at this year’s National Arts Marketing Project Conference in Charlotte, NC was the very first session I attended: Stereotypes, Exoticism and Cultural Competency.

Moderated by Jerry Yoshitomi of MeaningMatters LLC with panelists Rosetta Thurman, Mayumi Tsutakawa, and Michelle Witt, it addressed the use of stereotypes and other “shorthand” in marketing.

In short, stereotypes are the boxes in which our brains sort information to simplify the world around us. Because they’re the easiest, quickest way for storytellers to create a character in our heads, they’re everywhere—from sitcoms to, of course, marketing messages.

I had one overwhelming takeaway from the session: Marketers are creators of public perception and need to take that responsibility seriously.

At the beginning of the session, we were asked to think about a time that a stereotype had bothered us. After sharing that experience with a person nearby, we were invited to share our frustration with the rest of the room.

It fascinated (but didn’t surprise) me how many of us were just downright frustrated by assumptions that have plagued us or our art. From exoticism and heteronormativity to common perceptions of art forms like opera, we were all frustrated about something. (The term “HULK SMASH!” was even used to describe one person’s feelings!) 

Tim Scales

I made a friend at the National Arts Marketing Project Conference who told me that she had come to the conference to “recharge.”

This was Monday morning, after two full days of breakout sessions and two late nights of conference festivities, and I may have looked at her like she was crazy. “Recharge?” I asked her. “But I’m exhausted!”

She clarified: “I needed to fall in love again with what I do.” Ahh, now I understood.

I knew what she meant and I think the sentiment may be shared by many of my fellow conference attendees. Like them, I work hard…and a lot.

I also work freelance, which means that I’m juggling the competing demands of six or seven clients at any given time. Add to this keeping up with laundry and trying to go on dates with my girlfriend, and it’s rare that I have a spare moment to reflect on why I do what I do.

This professional self-reflection is crucial, however, as the conference weekend reminded me.

The sessions were, for the most part, excellent. The keynotes were fantastic. The networking was valuable. I feel like I’ve come away concrete tools, supportive connections, and useful insights.

But what I’m most happy to take away is a renewed love of what I do.

Trenten Derryberry

This was my first time attending not only the National Arts Marketing Project Conference (NAMPC), but also any conference. I am very happy to conclude that my experience was amazing and I would recommend this to anyone that is in any marketing field (and also if you are a student)!

I was asked to write this post-NAMPC piece to deliver a student perspective on the conference…here it goes!

Engagement, Mission, Alive, Active, Participatory, Stickiness, Contextualization, Spry, and Pray...all the words that come to my mind when I think of this past weekend (the list is endless!).

As a student, I came to NAMPC to primarily explore and listen to some of the TOP professionals in the marketing industry. What I received was something I wasn’t ready for.

Presenters sprawled from all areas of business (banks, agencies, venues, organizations, institutions)—both in and out of the confides of the performing arts, which I felt was an awesome exposure and a true springboard for discussions within the sessions.

Like I said earlier one of the reasons why I decided to attend was to listen and expand my critical thinking in an industry that I’m still learning about, that quickly changed to networking and participating within the sessions—I thought ‘when would be the next time I would be able to ask an audience engaging question directly to Alan Brown?’ So I did.

Shoshana Fanizza

I wanted to start out by giving you the link to my Storify—My #NAMPC experience via Twitter. I ended up winning the Most Tweets Award [at the National Arts Marketing Project Conference (NAMPC)] and I received a fun t-shirt!

I also won by connecting with more people on Twitter and getting to meet some of these people during the conference. It has been a fun and educational experience for me. If you had to miss the conference they promised to archive the keynote presentations soon.

NAMPC had its ups and downs, but mostly ups. However, through the entire conference, this year, like last year, there were some common themes running through most of the presentations.

Instead of a complete play-by-play like I did last year, I would like to leave you with the my most impressionable takeaways and some of my own thoughts (in no particular order):

• You gotta have passion—if you don’t, people will not be attracted to your mission, cause, project, program…Without passion, what is the point?
• Be weird and silly—or in other terms, be true to your own particular self. It’s not about being similar—it’s about standing out.
• Adding your own personality will increase your likeability.
• Have fun! What makes people want to join? Fun! If it is not enjoyable to you, it probably won’t be to your audiences.
• Everyone is diverse in one way or another. These are my personal thoughts: We can learn to reach out to others after we discover our own sense of diversity and understand personally what it feels like to be stereotyped and discounted.
• Keep ego out of the organization.
• Visual impact is necessary! There is so much blah, blah, blah, and not enough “language” of our arts. If you are a music organization, it would be good to have clips and videos of performances and music. If you are an artist, make viewing your art an experience. If you are theater and dance, videos are a must. How can people figure out if your art is for them if they can’t “see” it and feel it?
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Katherine Mooring

“Charlotte in 2012” is becoming quite a theme this year, as we prepare to welcome more than 600 arts marketing and development practitioners from across the country to the National Arts Marketing Project Conference (NAMPC), November 9–12.

The National Arts Marketing Project is a program of Americans for the Arts that, in addition to the annual conference, hosts monthly webinars, organizes regional training programs, and provides on-site workshops on a range of arts marketing topics.

The three-and-a-half day NAMP Conference includes two full-day pre-conferences, four keynote addresses, and more than 100 presenters in more than 50 workshops and discussion groups. Attendees will gain new ideas to build audience, learn ways to stretch even the tightest budget, and discover methods to better engage donors. Past host cities include Louisville, KY, San Jose, CA, Providence, RI, Houston, TX, and Miami, FL.

Method Products Co-Founder and Chief Brand Architect Eric Ryan launches the 2012 Conference as the Opening Keynote. Nina Simon, author and executive director of the Museum of Art and History in Santa Cruz, CA, will invigorate attendees on day two. The Conference closes with author and strategist Rohit Bhargava who will not only share his marketing expertise, but also his new book, Likeonomics, which was just named a must-read of 2012 by Forbes! (Editor's Note: You can watch all of the keynotes live online!)

Individual session titles will tackle diverse topics like, Innovations That Pay: How Arts Organizations Are Adapting and Finding New Income Streams, Consumer Psychology: New Experiments That Use Science to Grow Your Audience, and The Win-Win: Arts Organizations and Businesses Partner to Achieve More.

As we entered the 2012 Arts Marketing Blog Salon, I said that we were taking cues from change agents, entrepreneurs, and business leaders. All true, but we were also visited by The Giftgiver, The Cowboy, and The Court Jester.

More so than any label, I would say all our bloggers are Supreme Storytellers.

Kevin Clark

Last month I attended the first XOXO festival in Portland, OR. The event was intended to bring technologists and artists together to explore new ways of working that are possible on the internet. Most of the attendees work in the tech sector, but a few brave artists decided to attend. I, for one, am very glad that they did. Artists need to be a part of this discussion.

There is a lot that the arts and technology sectors can learn from each other, about developing an audience, about transformative experiences, and about how to communicate with large groups of people. There are lessons to be learned on both sides, and I look forward to future events that can bring these worlds closer together.

A New Role: Community Manager

The role of community manager is a great example of something that we in the arts can learn from the technology sector. The job title has sprung into existence in the last few years, primarily at consumer facing tech start-ups.

These companies need to develop and serve a base of users for their products, and the community manager’s job is to understand the needs of that community, to talk to them, and to connect their needs with the development of the core technology product.

Inside the company, the community manager’s role is to speak for the users. There’s a single person responsible for understanding and representing the needs of everyone who doesn’t work at the company. Because of that structure, there’s always someone in meetings who can talk about the experience of the people you serve. And if the community doesn’t have the answer you need ready, it’s their job to find it, and make sure it’s part of the company’s process.

These structures for tech companies on the social web have emerged organically along with the companies themselves.

Sara R. Leonard

It’s that time of year. Promotions are popping up left and right offering audiences the opportunity to “Subscribe Now!” at deeply discounted rates.

Our arts organizations are looking for audiences: new audiences, loyal audiences, committed audiences, and in some cases, any audiences. We believe in our art. We believe in our organizations. Surely all we need to do is tell people about the work we’re doing and they’ll see the value and come running, right?

Sadly…wrong.

As leaders and marketers in arts organizations, we often seem to operate on the assumption that people should and do want to attend the arts, and it is the practical matters of time, money, location, and the oft-lamented competing leisure-time options with which we must wage war in order to bring those people into our venues. But is it true? Well, on the one hand, yes!

Research from the RAND Corporation’s A New Framework for Building Participation in the Arts shows that, for people already inclined toward participation in the arts, practical barriers are indeed an issue. Strategic use of promotional and other tactics that address these barriers to participation is important as we make sure that those who are inclined to attend the arts do, in fact, buy tickets and attend. And, with any luck, your excellently designed efforts might just entice them to attend your organization rather than another.

But is that enough?

The flip side of the research tells us that practical barriers really only come into play once people decide they are interested in participating. Until people reach that point, addressing practical matters won’t have much of an effect on them. If that’s true, how are we supposed to diversify our audiences and bring new people into relationship with the arts, not to mention with our arts organizations? For that, we have to address the other barriers, the perceptual and the psychological.

Will Lester

In the digital age, many marketers are fond of pronouncing the death of direct mail. Yet the data is clear—the environment has changed, new techniques have emerged and smarter approaches to direct mail are getting superior results than in days gone by.

Why? It comes down to increased trust, better targeting, and integration with online channels.

Trust

The contents of the typical American mailbox have changed dramatically in the last few years. Online bill pay options, increased digital and social marketing, and the spiraling costs of postage (6 price hikes in 6 years, but who’s counting?) are some of the reasons why overall mail volume has dropped by almost 20% since 2006. These changes correspond to exponential increase in the daily volume of our email inboxes.

Recent research shows that many consumers prefer and trust mail more. Epsilon’s 2011 Channel Preference Study showed:

•    75% of consumers say they get more email than they can read
•    50% of consumers prefer direct mail to email
•    26% of all U.S. consumers said they found direct mail to be the most “trustworthy” medium, an increase from prior studies, which even includes the 18-34 year old demographic.

This makes sense, particularly when we stack these findings next to the consistently positive results TRG sees in direct mail response analysis. Mail is getting opened and getting results.

Our take? Digital communication is free or very cheap. It’s easy for anyone to send email. While many legitimate companies use it liberally, scammers are even more prevalent. Just this month I received a seemingly legitimate email from my bank requesting that I follow an embedded link. It seemed a little fishy and in fact turned out to be fraudulent. (Fear not, I didn’t click through.)

Doug Borwick

Last month I was minding my own business attending a minor league baseball game with friends, thinking not a whit about the arts. Then something remarkable happened.

Between innings, a young girl who had endured multiple open heart surgeries that saved her life was recognized, along with her family and doctor. She then ran around the bases as part of a program by the ball club called “Home Run for Life.”

This girl’s story had nothing to do with baseball. The program is clearly an effort on the part of the team to connect with its community. So that got me thinking...

What was the mindset that led to this promotion?

Clearly, it was about the team’s interest, for pragmatic reasons to be sure, in being seen as a responsible, caring member of the community. What really got the wheels turning was trying to imagine something similar happening in the arts.

Some of you may say that such a program would not be appropriate for an arts organization, and I am certainly a stickler for focus in adhering to the mission. This specific example is probably not a helpful model. But it’s the mindset that led to the "Home Run for Life" program that intrigues me.

What sorts of activities might come from a view of the “arts self” wanting to connect with the community, even ones that were not directly related to the arts?

After I started down that road, I began to look at the other activities at the ballpark that evening. There were fan participation activities, singalongs (including, of course, “Take Me Out to the Ballgame”), contests, and fireworks at the end. Many of them were silly to the point of being embarrassing. Many (most?) had little or nothing to do with baseball. I would certainly not advocate for toddler races in Symphony Hall!

Jenifer Thomas

Every time someone questions the value of data mining, I can’t help but hear the Gold Rush-era adage, “There’s gold in them hills!”

The wealth of information gleaned from data analysis can provide great guidance in decision making, especially in relation to pricing. And if you’re a data junkie like me, you might enjoy data mining, too.

Analyzing data gives insight into how the audience values our product. We can then price according to that value.

For example, an organization may assume that its box seats are the best in the house, and price them accordingly. But as the first performances near it’s clear that total sales are increasing, but the boxes aren’t selling. Often this prompts a frantic decision to discount those seats to encourage sales. But hold steady! A more reasoned approach is to ask a few honest questions:

1. Is the box ticket price too high?
2. Is our perception of the value of a box seat too high?
3. Are the range and relationship of the prices out of whack?

Here’s where data comes in—mining into where people are choosing to sit in the house and what they are paying often gives answers.

For example, if we look at the data and see that demand is actually strongest in front-and-center orchestra radiating out, and there is little demand for the boxes, then the audience is spelling it out for us. They value the orchestra seats more and are willing to pay a price they deem reasonable for that value. The box seats are not as valuable to our audience, and the pricing is not reflecting that difference in value.

Nina Simon

A lot of conversations I have about audience development with organizational leaders go something like this:

"We want to find ways to make our institution more participatory and lively."
"Great!"
"We want to cultivate a more diverse audience, especially younger people, and we want to do it authentically."
"Fabulous!"
"But our traditional audience doesn't come for that, and we have to find a way to do this without making them uncomfortable."
"Hm."

Audience development is not an exercise in concentric circles. You can't just start with who you already have in the middle and build infinitely outward. In most cases, growth means shifting, and shifting means that some people leave as others come.

This is incredibly scary. It requires trading a certain history for an uncertain future—a nerve-wracking prospect no matter the situation. It's particularly scary if your institution relies primarily on private donors, members, and gate sales to cover operating costs. When funding is tied to a specific subset of your audience, you get protective of them, even if they are not the people most likely to ensure viability and sustainability in the future.

When I took on the director role at the Santa Cruz Museum of Art & History, we were in a dangerous situation. We had a small cohort of members and donors who loved and supported us. Outside of that, our bench was very thin—no brand recognition, no up-and-coming audience, no big funders with an eye on the future of the organization.

Now, a year later, we’ve more than doubled our attendance, increased membership by 30%, attracted national foundation funders, and gotten great ink locally. Our audience has gotten younger and they come more frequently.

Adrion Porter

Is your brand being heard and not just seen?

That is the question that companies should answer with an emphatic YES! Yet many marketers focus their time and resources primarily on visual stimuli to create brand awareness. As the marketplace is becoming more crowded, brands are challenged to break through the clutter and distinguish themselves from the competition.

This calls for a need to embrace innovative methods of reaching consumers beyond the eyes, but also through the “ears.” Here lies one of the most powerful, yet under-utilized branding tools—sound.

Why is Sound Essential to Brand Performance?

One word…Emotion.

Research has proven that sound has a direct path to the emotional and memory parts of the brain. Think about those special moments when music and sound have altered our mood, enhanced feelings, and guided us to places long forgotten. Hearing the sound of birdsong in the morning; an opening theme from a television show; or the sound of our mother’s voice.

As more consumers make purchase decisions driven by emotion rather than function, having sound as part of an identity system allows for brands to resonate in ways that visuals cannot. Audio branding communicates those intangible brand associations that pull at the heartstrings and create unforgettable experiences.

Some brands have been successful market leaders at harnessing the power of music and sound with great effect. McDonald’s “Ba-da-ba-ba-baah…I’m Lovin It" is just as recognizable as the golden arches.

The start-up sound of a MacBook Pro provides an emotional trigger to Apple enthusiasts.

Along with the peacock, the NBC three-tone chimes are the network’s brand assets.

Shoshana Fanizza

Every time I send out an email or post to my blog, I end with my signature, “Cheers to happy and loyal audiences” and a quote by James Stewart, “Never treat your audience as customers, always as partners.”

I am a firm believer that building a happy and loyal audience is exactly where our focus needs to be, and treating your audience as a partner is one of the many management shifts we can make in order to create a happy and loyal audience.

So, you want an audience that supports you, and you want them to be loyal to keep them coming back for more. What are some actions you can take to make this happen?  Here are my top 5 suggestions to get you started:

1. Begin with knowing yourself.

If you don't know who you are and what your art is all about, how will you be able to attract the right audience for you and your art?

This step means defining who you are down to the letter so you can brand properly and set up your marketing messages to speak clearly about who you are, what your art is, and provide the exact image that matches you and your art.

This is a crucial step. I have seen many artists and arts organizations that are not well defined, and their brand is mainly a copycat of their industry at large. What makes you unique is a better objective and will attract the best audiences for you.

2.  Get to know your audience.

When I start a session to discover information about a client's audience, I mainly ask both demographic and psychographic questions. I am finding that most of us know the demographics. However, when I ask what the main hobbies their audience enjoys or what other art forms they go to or if they have any issues with your venue, I usually get the answer “I don't know.”

Ron Evans

2012 has been an awesome year so far.

It seems to be the year that the majority of arts groups have hit the tipping point on understanding online marketing, where they now feel really comfortable experimenting. Or perhaps executive directors are feeling more comfortable giving the ok for experimentation.

Either way, the collective knowledge level has risen substantially, and that is allowing us to have deeper, higher-level conversations as a sector. It's a wonderful thing!

There is a dark side to this experimentation that I am seeing pop up more and more—organizations will launch a new marketing channel, get busy with other things, and then forget about them. But these new, forgotten channels still pop up on search engines, patrons go to them, and then are disappointed to find no recent updates. That can easily send the wrong message to your patrons.

I'm all for experimentation—it's ok to try out something new, and you should be—but in the case where a new channel is abandoned, it can really dilute the brand. I recently worked with an arts organization that had twelve—count 'em TWELVE—Facebook pages. And they only knew about seven of them.

Most of them were set up by well-meaning volunteers, or now ex-employees, and if you did a search on Facebook for this organization, you wouldn't know which page was the “real” page. We heard reports from audience members who were very confused about which one to connect to.

Starting a new marketing channel is like owning a new puppy. Photo by Indiana Adams.

I like to think that a new marketing channel is like getting a new puppy. That puppy needs attention—it needs to fed, watered, played with, and cleaned up after. It's a big responsibility, and you should really know you want one before you get one.

To continue this metaphor, you may want to borrow a friend's puppy first to get to know the lay of the land before deciding if that new puppy is the best for you.

It is easy to be attracted to the “newest, greatest thing” in regards to social media or other online marketing channels. And if you've got the time, set up a new account and play around.

Jennifer Hubbartt

Growing up in the 80s and 90s, I shared a hobby with other Generation X-ers: I made my own mix tapes. Simply pop a cassette in the dual tape deck, and tape songs heard off the radio, from compact disc, or even vinyl.

Younger generations would find this procedure outdated. Dead, even. Yet the art of the mix tape isn’t dead, entirely. It is the technology that’s changed.

Now instead of tapes we use playlists generated from sources like iTunes that are synced with iPods or other such devices. Music lovers today simply need to grasp the new tools at hand to make your own mix tape.

The same can be said about the Marketing Mix. I’ve been in the arts marketing field for over a decade, and in recent years I’ve heard variations on a theme. Advertising is dead. Direct mail is dead. Subscriptions are dead. Even Marketing itself is dead.

However, it is also the case that technology has evolved, giving us marketers even more ways with which to communicate the products we have to offer our audiences, test new tactics, and analyze the results. One individual marketing tactic may not make or break your ticket sales as they once had; it is all about your Mix.

The trick is to figure out the tools best suited for your audience, find the right beat, and strike the appropriate balance for your organization’s Marketing Mix, taking advantage of the new tools at hand.

Some points to consider the balance of your Marketing Mix, which has helped my many campaigns move and groove into ticket sales and audience development:

Who is my audience? Who else could we/should we be serving? This can help you make decisions for your price, packaging, and messaging throughout your advertising and social media engagement.

Clayton Lord

In October 1850, George Upton ducked into a Boston concert hall to hear a young, beautiful blond woman named Jenny Lind sing. Lind, who had made her career as an opera singer in England, was embarking on a U.S. tour, and the frenzy that surrounded each of her tour dates was extraordinary—the “Jenny Lind fever” riled up thousands and thousands of people at the 96 stops she would make down the Eastern seaboard.

Tickets sold for astronomical sums, and in the case of Boston, were oversold, meaning that the people outside the theatre rioted at the idea they would not get to see her. She was the Lady Gaga of her age and was considered to be the best singer of the 19^th century by many—a “nightingale,” an “angel.”  Her appearances caused huge congestion—thousands of people would meet her at the station stops along the way.

Upton, 58 years later (!), would remember Jenny Lind “gliding down the stage with consummate grace” with a clarity that bespoke of the impact she had had on him:

“Her voice, as I remember it, was of full volume and extraordinary range, and had a peculiar penetrating quality also, because of its purity, which made its faintest tone clearly audible…her high notes were clear as a lark’s, and her full voice was rich and sonorous.”

Later, he would go on to say:

“I have borne her in my heart and memory across two generations and she remains for me still the one peerless signer I have heard on the concert stage.”

Unfortunately, Jenny Lind died just as the first audio recording instruments were being invented, so in 1908, when Upton wrote down his memories of Lind and her voice, the only residue that remained was what was in his mind.

Her art had transitioned into being only the memory of that art—the ephemerality of her voice having had no place, in those days, to become less ephemeral.

And yet 60 years later an old man at the end of his life could close his eyes and hear her voice, clear audible, crystallized in his mind even as the notes and the woman that sang them had long dissipated into nothing. What power.

Katherine Mooring

"Charlotte in 2012" is becoming quite a theme this year, as we prepare to welcome our fabulous arts marketing and development peers from across the country to the National Arts Marketing Project (NAMP) Conference in November, just months after serving as the host for the recent Democratic National Convention (DNC).

Our arts community played a critical role in the DNC from day one—not only as a major player in the process that led to Charlotte’s selection as the convention site, but also as primary partners for major events like CarolinaFest 2012, delegate parties, and even The Daily Show with Jon Stewart, which broadcast from the stage of our local children’s theatre.

Gearing up for this national spotlight gave our local arts marketing minds a chance to show off the myriad ways we impact and enliven our community like never before. Video emerged as the primary medium for these messages, as Charlotte artists and arts organizations told their stories to new, national audiences in creative and compelling ways. Here's one example:

From the more formal, host-committee directed promotional pieces, to a visionary, community-side initiative known as the Charlotte Video Project.

Rohit Bhargava

For Nate Dern, the unlikely path to acting micro-stardom would come from a simple three-letter catchphrase that most people would barely consider a word.

As the artistic director of the Upright Citizens Brigade Theater in New York and a sociology PhD student at Columbia University, Nate had spent years auditioning for different roles. In late 2011, he landed a gig acting in a national commercial for AT&T Wireless called “Responsibilities.”

In the ad, a manager-type character dishes out unexpected responsibilities to his team because with their new Blackberries, they can “do more faster.” He tells one worker to upload more pictures of her baby to YouTube. He tells another to make sure and check in everywhere he goes on Foursquare. And he tells the character played by Nate Dern to keep updating his fantasy team – to which Nate replies “huh?”

It’s a funny ad and rapidly went viral on YouTube racking up several hundred thousand of views in a matter of hours. The source, however, for the majority of the early traffic was a site that no one would have expected: Reddit.com.

Reddit is an online link sharing forum mostly used by geeks talking about technology. So why was a community for techies driving hundreds of thousands of views of a funny AT&T ad?

It turns out that one of the active members of that Reddit community was Nate Dern—and as the commercial first aired, he posted this simple message on the community:

“Hi Reddit. After three years of auditioning, I booked my first commercial. I say "Huh?" in this AT&T spot. Just wanted to share.”