Arts managers in the 21st century must go further than producing work that engages their audience. They must carefully strategize and monitor the platforms through which their audience is engaging. The San Francisco Opera’s "Tweet Seats" program is a prime of example of an arts organization not only encouraging discussion, but successfully managing the discussion around their work.
#TBT: The Arts Manager's Toolkit for Data Management
Here at AMT Lab, we have been sorting through plenty of data as we prepare for tomorrow’s release of the full report from our 2015 National Ticketing Survey (stay tuned!). Today’s throwback is a collection of AMT Lab Articles that discuss tools, stories and best practices for the management and usage of quantitative data in an arts organization. Most of these are a more recent throwback, but even those articles from 2012 still provide invaluable resources for organizational leaders.
Tweet Seat Roundup
Love them or hate them, more and more arts organizations are experimenting with tweet seats. For the uninitiated, tweet seats are a designated section of the audience where traditional etiquette rules are bent. Use of devices in this special section is not only allowed, it is encouraged. This roundup features several AMT Lab articles on tweet seats, exploring how organization have managed both their challenges and opportunities.
Research Update #3: Best Practices of Twitter
According to statistics from Digitalbuzz, there are over 288 million monthly active users on Twitter, 60% of which access the social network from mobile.
Contributor Aoni Wang investigates some best practices for this growing platform by continuing her examination of the Met, Warhol, and Tate's social media strategies. Click here to read the full article.
Interweaving Social: Managing and implementing social media in artistic programming
In 2012, Dog & Pony DC, a small theatre company in Washington D.C., encouraged audiences to direct the plot of a show and influence characters using Twitter. In A Killing Game, audiences and actors stood side-by-side, immersing themselves in a collaborative artistic experience. In order to learn more about the company’s decision to utilize social media, and its approach to integrating the technology and management of its uses, AMT Lab’s Kristen Sorek West spoke to company director, Rachel Grossman.
Growing Social: How to Make the Most of Your Organization's Social Media Efforts
As many arts marketers, social media gurus, and nonprofit professionals attest, the question for nonprofit arts organizations is no longer whether or not to use social media but rather how to use it most effectively. This shift is reflected by AMT Lab readers’ responses to our 2014 AMT Lab Reader Poll, where a whopping 76% of respondents indicated they would like to see additional research on social media analytics while only 31% indicated interest in research on social media platforms themselves.
To Tweet Seat or Not To Tweet Seat: An Insider's Perspective
The year has come full circle for me and tweet seats. From my first conversation about them last summer at the Theatre Communications Group Annual Conference to the CMU School of Music’s tweet seat initiative this past spring, the last twelve months provided an opportunity to play with this still new (and at times, controversial) audience engagement tool.
Frustrated by Managing Multiple Social Media Channels? Buffer It!
CMU School of Music Tries Tweet Seats
On January 26, 2014, Carnegie Mellon University’s School of Music offered a little something extra to its audience both in Pittsburgh and afar: tweet seats. Last summer I wrote an article about tweet seats that provides an overview of decisions that need to be made before implementing this heavily debated audience engagement technique. With this advice in mind, the School of Music set out to define how and why tweet seats might be a good idea for live concerts.
To Tweet Seat or not to Tweet Seat: A Perspective
To tweet seat or not to tweet seat; that’s the question on everyone’s mind. After a rather engaging conversation at the Theatre Communications Group Annual conference in Dallas, I went home thinking about the pros and cons of new technology and how it can be used to engage today’s audience. If our audiences are evolving, why are we still connecting with them in the same manner as the previous generation of administrators?