The Art of Participatory Culture - Learning to Play WITH Our Audiences

This article was originally a speech for TEDxMichiganAve delivered by David Dombrosky on May 7, 2011 in Chicago, Illinois.

One of my favorite quotes comes from Confucius. He said, “Tell me, and I will forget. Show me, and I may remember. Involve me, and I will understand.” This quote has become one of my touchstones because it reminds me that: life is experiential, and the most resonant experiences in my life were ones in which I was an active participant. The first time I sang a solo for a public audience. Writing and performing a solo theatrical performance in college. Learning how to tango earlier this year.

If the arts community agrees that we want audiences to have deeply resonant experiences with the arts, then the question arises, “How can artists and arts organizations go beyond telling their audiences about the work or showing the work to patrons and actually INVOLVE them in the work?”

Technological advances over the past decade have propelled us into a highly participatory culture, wherein individuals no longer simply consume culture, but they now actively produce and contribute to culture. In 2006, media scholar Henry Jenkins and his colleagues published a white paper entitled Confronting the Challenges of a Participatory Culture in which they described five defining elements for participatory culture.

Jenkin's 5 Traits of Participatory Culture. Image from OpenParenthesis.org

With this article, I would like to address the question of how artists and arts organizations can involve audiences in their work by highlighting how a number of artists and organizations exemplify the defining elements of participatory culture.

#1 – “A participatory culture has relatively low barriers to artistic expression and civic engagement.”

We see evidence of this every day. The number of free web tools and mobile apps that have been released over the past decade is astronomical. With each successive release, the barrier to artistic expression and engagement is lowered that much more.

One recently released, free tool called Broadcastr allows people to record 3-minute audio segments and pin them to specific locations on a map that is available on their website as well as through their mobile application.

Many of you may know the Neo-Futurists, a theatre performance group originally established here in Chicago. Their New York City chapter has a show called Too Much Light Makes the Baby Go Blind which contains 30 plays performed in 60 minutes. Earlier this year, they used Broadcastr to create 30 plays in 30 blocks. So if you go to Second Avenue in Manhattan, you can walk from Houston Street to 29th Street and experience 30 location-specific, interactive pieces of audio content. Some of them direct you to do things, some of them are little songs, some of them are plays with multiple voices, and some of them reference their locations very directly.

The technology required to do this? Either a computer with speakers and a microphone OR a smartphone. That’s it.

#2 - A participatory culture has strong support for creating and sharing one’s creations with others

Over the past two years, choral composer Eric Whitacre has worked with singers from around the world to create “virtual choirs” for the performance of his compositions. Participating singers download a PDF version of the sheet music for their vocal part. They watch a YouTube video of Whitacre conducting the music, record their vocal tracks, then send the tracks to Whitacre for final editing. Whitacre and his producer then combine all of the vocal tracks together into a single audio composition and syncs it with a video featuring a virtual riser with the floating faces of each of the singers performing the piece.

His most recent virtual choir composition entitled “Sleep” features 2052 singers from 58 different countries. As of today, the video has been viewed nearly 500,000 times on YouTube. His 2009 virtual choir composition “Lux Aurumque” has had over 2.4 million views.

#3 - A participatory culture has some type of informal mentorship whereby what is known by the most experienced is passed along to novices

One organization which exemplifies this element is the San Francisco Symphony. With their Community of Music Makers program, the symphony serves amateur adult musicians and promotes active participation in music-making and lifelong learning. Community of Music Makers includes workshops and events for amateur vocalists and instrumentalists in symphony’s performance hall, where participants are able to improve their skills. They also receive live and online coaching sessions from the symphony’s musicians and artistic staff. A chamber music convening service serves as a clearinghouse to help individual players and ensembles connect each other and identify performance opportunities in the local community.

The lesson here? Learn to love amateurs as they are likely to be a strong core from which to further develop your audience.

#4 – In a participatory culture, members believe that their contributions matter.

The Brooklyn Museum pioneered crowd-curation in 2008 with its photography exhibition Click! First launched through an open call for artists to submit photos related to the theme of “The Changing Faces of Brooklyn,” the artwork was then made available online for anyone to curate. This year, they are taking another spin on this concept with the exhibition Split Second: Indian Paintings, which invited the Brooklyn Museum’s online community to participate in a project that will result in a small installation of Indian paintings from the Museum’s permanent collection in July 2011.

The first stage of the project explores split-second reactions: in a timed trial, participants were asked to select which painting they prefer from a randomly generated pair of images. Next, participants were asked to write in their own words about a painting before rating its appeal on a scale. In the final stage, participants were asked to rate a work of art after being given unlimited time to view it alongside typical interpretive text. Each part of the exercise aims to examine how a different type of information—or a lack thereof—might affect a person's reaction to a work of art.

Once the exhibit opens in July 2011, visitors will be able to view a small selection of the paintings that generated the most controversial and dynamic responses during the evaluation process, accompanied by a visualization and analysis of the data collected.

With both of these experiments from the museum, the online participants had a clear understanding of how their contributions would matter to the overall project.

In April of this year, choreographer Jonah Boaker debuted FILTER at the Ferst Center for the Performing Arts at Georgia Tech University in Atlanta. FILTER explores how the audience can serve as a collaborative filter for the performance through the use of a mobile application.

Interview eith Jonah Bokaer about FILTER.

Boaker worked closely with students from the university’s Music Technology Program to develop MassMobile, a smartphone app that acts as an interactive platform for audience members to participate by affecting the stage in different ways. Boaker’s approach to participation actually allows the audience to co-create the artistic experience in real-time.

#5 - In a participatory culture, members feel some degree of social connection with one another

Okay, so my absolute favorite exemplar of this element is the MP3 Experiment created and hosted by Improv Everywhere in New York City. Begun in 2003, the concept is quite simple. Improv Everywhere puts an original mp3 file online (usually around 45 minutes long) that people download and transfer to their iPods. Participants then: synchronize their watches to a clock on the organization's website, venture out to the same public location, and blend in with the crowd. At the predetermined time, everyone presses play. Participants then carry out coordinated instructions delivered to their headphones via narrator “Steve,” and everyone around them tries to figure out what in the world is going on.

In 2010, over 3,000 people participated in a MP3 Experiment in Midtown Manhattan. The event started in retail stores and progressed to Bryant Park for the narrator’s surprise birthday. The event ended with a massive toilet-paper-mummy dance party.

The next Mp3 Experiment in New York is scheduled for July 16, 2011. Stay tuned to the Improv Everywhere site if you're in New York and wish to participate.

Something to consider about all of the artists and arts organizations that I’ve mentioned here is that they all invite the audience to play.

As an industry, we have spent so much of our time playing FOR the audience or playing TO the audience. In order for our sector to thrive in this participatory culture, we must now invest a significant amount of time and energy exploring ways to play WITH the audience.

Using Google URL Builder to Track Your Website's Traffic [mini-nar]

Mini-nar

Back in November, Tara took a look at Google URL Builder.  Given that some people learn better by watching someone else do it first, we decided that this would be a great topic for a mini-nar.

Here's David to walk you through how to use Google URL Builder to track the traffic being driven to your site through promotional campaigns, social media, e-mail marketing, and more.

Mini-nar - Google URL Builder from Technology in the Arts on Vimeo.

If you have topics that you'd like to see us cover in upcoming mini-nars, post a comment below or send us a message to let us know what you would like us to cover.

May the Fourth Be With You!

In honor of Star Wars Day, the Technology in the Arts team would like to share with you our take on the original Star Wars trilogy. Get your Jedi on and check us out!

Star Wars: A New Hope

The Empire Strikes Back

Return of the Jedi

Upcoming Webinar - Engaging Audiences Through the Mobile Web

Mobilizing the Arts - Engaging Audiences Through the Mobile WebThursday, March 31, 2011 2:00pm - 3:30pm Eastern Register today for $25 Presenter: David Dombrosky

With the rapid adoption of web-enabled cell phones, smartphones and tablet computers, how are arts organizations adapting to the rise of the mobile Internet? What options are available to arts professionals who want to engage their audiences through mobile devices? What are the cost implications for these new technologies?

In this 90-minute webinar, we will:

• Examine the need for engaging with arts audiences through mobile devices
• Explore options for connecting with audiences via the mobile web
• Discuss what factors may lead you to choose one mobile option over another
• Take a look at the various ways in which arts organizations are using these tools to connect with their audiences

David Dombrosky is the Executive Director of the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University investigating ways in which arts organizations can use online technology to more effectively meet their goals. He frequently presents technology and social media workshops and webinars for arts managers – recently for The Association of American Cultures, Performing Arts Exchange, Chorus America, Opera America, College Art Association, and Grantmakers in the Arts.

Upcoming Webinar - Google Analytics - Boot Camp for Beginners

Google Analytics - Boot Camp for BeginnersTuesday, March 8, 2011 2:00pm - 3:30pm Eastern Register today for $25 Presenter: David Dombrosky

Google Analytics is by far the most widely used website analytics software, and it's free.  Yet many artists and arts managers pay little attention to what the analytics data is telling them about their websites.  Very few of us actually use the data to inform decisions about the design of our sites and the content that we post on our sites.

In this 90-minute webinar, we will:

• Explore the various types of data captured by the Google Analytics service
• Review methods for charting traffic to your site driven by your social media accounts
• Discuss what the numbers actually mean and their implications for your site and your visitors
• Articulate strategies for utilizing Google Analytics to make decisions regarding website design and content

David Dombrosky is the Executive Director of the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University investigating ways in which arts organizations can use online technology to more effectively meet their goals. He frequently presents technology and social media workshops for arts conferences – most recently for The Association of American Cultures, Performing Arts Exchange, Chorus America, Opera America, College Art Association, and Grantmakers in the Arts.

Do You Have Trust Issues? - Data Sharing and the Arts

This post also appears as a featured article on artsmarketing.org, hosted by Americans for the Arts.

I recently had the privilege of facilitating a roundtable discussion in New York City focusing on issues related to data sharing among arts organizations. As Tiffany Bradley, Development and Marketing Specialist for Fractured Atlas, recently wrote:

As more organizations lead collaborative efforts, the implications of sharing data come to the forefront. Data sharing – whether for marketing, ticketing, fundraising purposes – raises a host of issues. Does pooling information about patrons lead to greater revenues for all parties? Or do organizations risk a negative response from patrons?

Hosted by Fractured Atlas as part of their “Issue Brunch “series and streamed live on the Internet via Ustream, the conversation featured the thoughts and voices of six arts professionals working with arts organizations, including NAMPRadio’s Maris Smith. While the roundtable covered a lot of ground surrounding the benefits and challenges of sharing data between arts organizations, the issue of trust emerged as the bonding force at the heart of all data sharing relationships.

Let’s face it. The idea of giving our data to someone else is anxiety-producing for most organizations. How do we know that they will abide by our agreement and use the data ethically? Yet, if we never place our trust in others, thereby initiating the relationship-building process, then we will never reap the benefits that may come from a data sharing relationship.

Now before someone out there becomes paralyzed with data sharing anxiety, relax. You already engage in data sharing relationships based upon trust. For example, many of us utilize Google Analytics to track visitor interactions with our websites. When we agreed to use Google’s service, we also agreed to share our data with Google. We acquiesce that Google will use our data to contribute to the web traffic data they have aggregated over time and for particular types of websites. However, we trust that Google will never give our websites’ specific data to anyone else without our permission.

Okay, I can hear some of you out there saying, “But that is an example from a service provider; it’s different to talk about sharing data with another arts organization.” No, it’s not. Data sharing relationships between arts organizations should have clearly articulated agreements detailing the data to be shared, the limits of what may be done with that data, and what contributors of the data will receive in return. Yes, these should be written agreements – or at least electronic agreements executed with digital signatures.

And just in case you skimmed over the last item of things to be detailed in data sharing relationships, I’ll rephrase myself. Data contributors should receive something in return for contributing their data. We are talking about data sharing relationships, not data giving relationships. Now, the quid pro quo of a data sharing agreement may simply be that the data collecting organization will provide contributors with overall or customized reports. That’s fine as long as the data contributors have a clear understanding of what they will receive in exchange for adding their data to the larger pool. Far too often, organizations may feel pressured to participate in data collection initiatives and surveys. One of the most important ways that you can maximize your data sharing relationships is to make certain that it is mutually understood by all parties what you will be receiving as a result of contributing your data.

While trust must be given, it must also be earned and respected in order for any data sharing relationship to grow. For example, Elliott Marketing Group has been working on two data sharing projects with numerous arts organizations in Pittsburgh, PA. In 2004, they worked with the Pittsburgh Cultural Trust to establish the SmArt database linking patron files for arts organizations in the city’s downtown cultural district for targeted marketing campaigns. In 2007, they partnered with the Greater Pittsburgh Arts Council to launch the STAR Direct Marketing Database, which allows smaller and mid-sized arts organizations in the Pittsburgh region to pool their patron data and utilize consulting services as well as “best prospect” lists for more efficient, targeted promotions.

The success of these data sharing programs did not happen overnight. The arts service organizations, the organizations contributing data, and the marketing group have spent years developing trust relationships with each other. Now, they have years of collaborative data, and the participating organizations clearly understand what they must contribute to the project and what they will receive in return. With each successive year, the data deepens. Correspondingly, the level of trust each of the contributing organizations has with the arts service organizations and the marketing group also deepens.

A final note on trust in data sharing relationships – don’t break it. Once trust is broken in any relationship, it rarely, if ever, regains its previous depths. For many of us, our data is a precious resource not to be taken lightly. So when a partner breaks our trust with them, our instinct is to take our data and end the relationship. When you negotiate the agreements for your data sharing relationships, always be certain to include an exit clause.

As I mentioned at the top of the article, the issue of trust is just one of many areas that we discussed during the roundtable on data sharing. To learn more about the roundtable, check out the preview video below or view the full discussion at Fractured U.

Data Sharing & Arts Organizations - Take Part in the Conversation

Our friends at Fractured Atlas are relaunching their Issue Brunch series and have asked me to facilitate a discussion on the benefits and challenges of data sharing among arts organizations. As Tiffany Bradley, Development and Marketing Specialist for Fractured Atlas, recently wrote:

As more organizations lead collaborative efforts, the implications of sharing data come to the forefront. Data sharing - whether for marketing, ticketing, fundraising purposes - raises a host of issues. Does pooling information about patrons lead to greater revenues for all parties? Or do organizations risk a negative response from patrons? Integrating the range of software that arts organizations use is also a problem in its own right.

This panel discussion will be streamed live on February 11, 2011 at 1:15 pm EST via UStream at http://www.ustream.tv/channel/fracturedatlas. Online participants will be able to engage one another in discussion and submit questions for the panel.

Panel participants include:

• Deborah M. Abramson - The Pew Charitable Trusts
• Joe Harrell - Alliance for the Arts
• Adam Huttler - Fractured Atlas
• Barbara Janowitz - Theater Subdistrict Council/City of New York
• Chrisopher J. Mackie, Ph.D - Open Health Tools
• Maris Smith - Situation Interactive

So what has your experience been like with data sharing among arts organizations?  What benefits have you received?  How did you approach the organizational and technological challenges?  Leave a comment below and be sure to join us on Friday for what is certain to be an engaging conversation.

Best of Technology in the Arts 2010 -- David's Favorites

As we move into 2011, it's time to take a look back at my favorite articles and podcast episodes from Technology in the Arts in 2010.

My Top 10 TITA Articles (in chronological order)

1. Building Audience Diversity Through Social Networking - Part 1, Part 2 and Part 3 -- Amelia investigates why arts organizations use certain social networking sites but not others (such as ethnically specific sites like Black Planet) and what impact this has on their ability to use social networking as a tool for building diverse audiences. [Okay, okay...I'm counting this three-part series as one really looooonnnggg article.]

2. SEOoooo….what? Improving your organization’s search engine optimization. -- Corwin takes a look at search engine optimization: what it is; why it is important; and what you can do to optimize it for your website. [And it was published on my birthday, which makes it extra special.]

3. Micro-donations: Proving Size Doesn’t Always Matter -- Joe highlights reasons and tips for starting a micro-donation campaign for your organization.

4. Social Media Spotlight: Vancouver Opera -- Amelia kicks off our Social Media Spotlight series by interviewing Ling Chan, Social Media Manager for the Vancouver Opera, about her social media strategy and experiments.

5. Online Group Discounts and the Arts - Tara unearths some of the buzz around the use of online group discount sites like Groupon and Living Social.

6. Is your organization engaging older adults through social media? -- Molly questions our assumptions about social media sites as places to primarily engage younger audiences.

7. Going Mobile - Websites vs Apps -- Reprinted from Americans for the Arts' Arts Marketing Blog Salon, I break down the differences between mobile apps and mobile websites with an eye toward where arts organizations should invest their time and money.

8. The Handheld Guide: Experimenting with Mobile Technology in Museums -- Tom digs deeper into mobile apps by exploring how they are used by and within art museums.

9. Social Media Spotlight: The Guggenheim and YouTube Play -- Thomas interviews Guggenheim Associate Curator Hanne Mugaas about YouTube Play, a biennial celebrating creative talent in the realm of online video.

10. 7 steps to a Successful Facebook Ad Campaign -- Tara discusses the benefits of and best practices for creating Facebook Ads.

My Top 4 Podcast Episodes (in chronological order)

#66 – Google Wave, Google Buzz and the iPad -- A humorous (yet informative) conversation with Brad, Amelia and me wherein I make this ridiculous prediction that the iPad was not going to take off. LOL.

#70 – Discussion of "Theatre & Social Media in 2009″ with Devon Smith -- Pat interviews Yale Repertory Theatre's Devon Smith about her research report “Theatre & Social Media in 2009.”

#71 – Audience 2.0, Smartphone Apps and Tips for Working with Developers -- Brad, Jeff and I get into a rowdy conversation about everything from the NEA's Audience 2.0 report to smartphone apps for the arts.

#78 – Seven Digital Trends and Their Implications for the Creative Sector -- My interview with thought leader and arts consultant Brian Newman about trends in the technology sector and what they (will) mean for the arts industry.

Happy New Year to all of our fans, friends, readers and listeners! We'll see you on the flip side in 2011.

Social Media Spotlight: SF Playhouse Pluggers

Welcome to the fourth installment of the Social Media Spotlight, our monthly feature focusing on arts organizations’ social media strategies.

Earlier this year, the SF Playhouse invited Bay Area Twitter users to apply for the SF Playhouse Pluggers, a group of individuals invited to "plug in and Tweet during the performance in special 'tweet seats' where their thoughts will be instantly be shared with the Bay Area and the world." I recently had an opportunity to talk with Dan Meagher, Director of Marketing for SF Playhouse, about this controversial and highly debated social media program.

What inspired the SF Playhouse to explore a Twitter program?

When I came to the SF Playhouse as Director of Marketing, I wanted to devise a program that would be unique plus tap into social media. Since I had been using Twitter for quite some time and liked the "real-time" aspect of it, I saw the potential for using it in conjunction with a live performance. More importantly, it lets us give folks a voice for their criticism and instant thoughts of our shows. Twitter lives in the moment, just like theatre. We're creating our own critics. There couldn't be a better combination.

How did you arrive at the program name?

The name came about after thinking about what people were doing with this program. They are "plugging" into the show, into social media, and into the SF Playhouse. Plus, it's darn catchy!

How does the program work? How do you find program participants? What are the criteria for participation?

A few weeks before a Plugger event, we start advertising on our Facebook and Twitter pages. The requirements are: - Must be 18 years or older - Must be a Bay Area resident - Must have an active Twitter account - Must have a portable texting device that can last a least 90 minutes.

Participants are selected on a first-applied basis and receive one complimentary ticket to the show, where they sit in the last row. We also extend to them a special ticket offer if they want to bring a friend (who won't be tweeting). We've had Pluggers use everything from cell phones to iPads! We accept 8-101 Pluggers for the event and usually end up with a wait list.

Do they tweet for a single performance or are they invited to come back to tweet throughout the season?

The Pluggers are initially invited for the one performance. Some love it..some find it challenging and not their thing. It's not a program for everyone. We have about a 70% rate of people asking to come back to plug for the next show, but it is important to me to have new people with us each session. We have one guy who has been with us for every Plugger session! It's great to see them arrive and become a group...they get each other's Twitter screen names and even start tweeting to each other during the performance. For that show, they become a community.

Our Pluggers come from all over - different backgrounds, communities, jobs, you name it. We've had them as young as 18 and up to their 60s. Our average age in 30 -40.

What rules (if any) govern the program?

We have a few basic rules: must turn ringers/any sound elements off; all screens must be dimmed; no talking; and no photos or recording devices may be used (we're an Equity theatre). We do let them drink from their seats, which, with a laptop or iPhone, has caused a few spills!

The biggest rule (well, not really a rule) we have is that we will not censor anything our Pluggers have to say. We retweet all of their messages about the show, whether they be good and bad. This has allowed us to gain a trust with our Pluggers and our audience, because they know that they are seeing all of the instant reactions - not just selected ones.

Someone once asked me if this is bad, letting people possibly criticize your production. Actually, I see it as a good thing. Theatre must be able to take the good and the bad. It allows us to see things from another perspective. We've had some Pluggers be very direct about what they didn't like in a show.

Is there a particular hashtag for the Pluggers’ tweets?

#sfplay - We started using this hashtag during our last Pluggers session in the hopes of making the feed more streamlined. Also, in the past, we have crashed our Twitter page because of too many feeds going out at the same time. I have been in touch with the folks at Twitter to ask for their help in maintaining our feed, but they weren't very responsive.

Do you post the hashtag feed on a screen in the lobby for your audience before the show, during intermission, and after the show?

That's a great idea! Unfortunately, we don't have the capability to do that right now. We do mention at the start of the performance to the audience that they should go home and look at our Twitter page and see the live feed.

What are your benchmarks for measuring the success of the program?

I don't use any specific bench marks for the Playhouse Pluggers.  Since it's a very "organic" kind of program, I don't feel the need to throw in tickets codes or other marketing positions.  We know it works because we have people come to the SF Playhouse and mention that they read the Plugger feed from the last show.  We've also received much press coverage.

What feedback has the program received from your on-site audience?

It's funny.  When we first announced this program, we received emails from patrons unhappy with the idea.  Of course, we heard this before we even did a Pluggers night!  However, Executive Director Susi Damilano and Artistic Director Bill English were unwaivering in their support for trying this crazy new idea.  Without their support, this would have never gone forward.

After our first session went off without a hitch, we didn't hear many complaints.  We have had audience members sitting right behind our Pluggers and, at the end of the show, say they didn't even know the Pluggers were there.  The non-Tweeting audience members wouldn't even know it was happening if we didn't tell them.  Now that people see that this isn't disruptive to the show, they seem to have embraced it.

What type of response and interaction have the Pluggers’ received from the Twitter community?

The Twitter community has been very supportive of the idea. I've heard from people all over the US and the world about how much they enjoy following the live feed.

Twitter has also brought us some surprises.  During our last Pluggers session for the new musical Coraline, who should join in the tweeting but the author himself - Neil Gaiman!

Another wonderful thing happened during our Plugger session for Cormac McCarthy's The Sunset Limited.  We were about 40 minutes into the show and suddenly, someone from Twitter-land sent one of our Pluggers a direct message asking them a question about something they just tweeted.  That was a first for us.  We now had Twitter users from other places asking questions of our Pluggers during the show!  It helped me realize the scope this program.  Those interactions took the Playhouse Plugger program to a whole new, unexpected level.

Why do you think there has been so much controversy and debate about the program?

Many theatre people are afraid of the "new."   Technology scares a lot of folks.  We're taught that theatre is a revered place where you come, sit, watch, and applaud.  Interaction is not allowed or encouraged.  So when you create something that breaks down a wall, people are going to jump up and say, "Not in my backyard!"  Here's the bottom line...the Playhouse Pluggers program is not going to end the world or change theatre as we know it.  This program will not cause thousands to run out and start tweeting during Romeo & Juliet.

Theatre is about change...about evolution.  The basic nature of theatre requires us to adapt to the new, or else we would be going to see plays by Euripides on Broadway.  Theatre is a shared experience and this program is just a way to let the theatergoer have voice in the theatre going experience by sharing their thoughts.  That's it..it's a very simple concept.

In an article earlier this year, Theatre Bay Area quoted Artistic Director Bill English as saying of the program, “It’s an experiment. We're trying to check out the balance between social media and theatre.”  Eight months into the experiment, what has SF Playhouse learned?

We have learned that social media (Twitter, Facebook, YouTube, Skype, etc.) has become a major force in everyday life.  It's here to stay.  We've also learned that people love to discuss theatre using these platforms.  It can connect a theatre fan in England with a theater fan in the US instantly.  If anything, social media has opened up lines of instant communication that never existed before and encourage discussion.

I'm happy to share my knowledge about this progam with all!  Feel free to contact me at Dan@SFPlayhouse.org

This has lead to the creation of citizen critics. Everyone today has a voice and the ability to broadcast their thoughts. With the demise of print and media criticism, theatre needs to find and cultivate these new voices that will talk, criticize, and promote.

Where Can I Park for the Show? Now, There's an App for That

As a denizen of downtown Pittsburgh, I am well aware of how difficult it can be to find a parking spot when I go to the theatre, a gallery crawl, or the symphony. You end up driving to various parking garages only to find a "Lot Full" sign at the entrance. In a brilliant bit of service to the arts organizations in the cultural district, the Pittsburgh Cultural Trust has created ParkPGH - a multi-platform service providing real-time parking availability information for eight garages in downtown Pittsburgh.

Here are two key reasons why I find this to be a brilliant service:

Addressing a community challenge: By creating ParkPGH, the Pittsburgh Cultural Trust has provided a solution for an issue impacting not just audience members for its own venues, but also audience members for a multitude of arts and cultural organizations not affiliated with the Trust, as well as employees and visitors for other businesses in the downtown cultural district.

Multiple ways of accessing information: The Cultural Trust worked with developers at Deep Local to create a multi-platform service, so that audiences have multiple ways of learning about available parking options.  In addition to the iPhone application, ParkPGH has a mobile website, a traditional website, and both text and voice option -- thereby offering the service to anyone with a phone or access to the Internet.

Did I mention that the parking availability information is updated every minute? A key layer of the service developed in collaboration with Traffic 21,  a multi-disciplinary initiative of Carnegie Mellon University directed from within Heinz College, which provided research capabilities and back-end support for the ParkPGH project.

So, thanks to the Pittsburgh Cultural Trust for making it easier and more convenient for me to find a parking spot in the cultural district! Hopefully, this idea will catch on in other cities.

Learning to Lead (and Follow) from Any Position

This article originally appeared in the Leading Creatively Blog Salon, a week-long exploration of leadership in the creative sector, hosted by the National Alliance for Media Arts and Culture.

When I first entered the workforce after graduate school, I believed that leadership originated at the top of the organizational pyramid and flowed downward. My first two jobs reinforced this belief: the senior leadership set the agenda for the organization, provided directives to the staff, and neither solicited nor desired the input of the junior staff. We were solely there to follow…or so I thought.

In retrospect, I see that my professional life has always contained the simultaneous duality of leading and following. When I worked in entry-level positions, I followed my supervisor’s directives for actualizing the executive director’s vision in service of the mission. And I was happy to be doing it. Following the lead of the senior staff allowed me to learn a great deal about management and leadership in the arts. So where did I lead in those early days? In the organization’s blind spots.

Small and mid-sized organizations in the creative sector are often faced with human resource capacity issues. Everyone on staff tends to wear numerous “hats.” Correspondingly, there are always areas within these organizations in need of attention and innovation. Turning these blind spots into areas of opportunity takes three key leadership traits: vision, initiative and persuasiveness.

In my personal experience, the organizations that I worked with had significant blind spots in their technology infrastructures. Once I recognized this, I started envisioning ways in which the incorporation of new and/or different technologies could improve organizational efficiency, audience reach, depth of engagement, etc. Having the vision for change was not enough by itself, I had to take the initiative to approach the senior leadership and persuade them to pursue change via technology adoption.

As I rose through the ranks, those three traits remained pivotal for leadership. Now as an executive director, I have tried to consciously foster a working environment wherein other members of the staff are encouraged to lead. Obviously, this requires me to follow. When I first took on the executive role, I wondered if I would be one of those executives who just could not follow someone else’s lead. I mean, I was hired to lead, right? Wouldn’t choosing to let someone else take the lead in an area be shirking my duties?

Three years into the role, I know that the answer to this is “no.” We must embrace the duality of leading and following throughout our professional lives in order to foster and ensure the continuous development of our organizations and ourselves.

NAMP 2010 - Day Three - Chip Conley and Providing the Peak Arts Experience

To conclude the 2010 National Arts Marketing Project Conference, Chip Conley delivered an inspired closing plenary to encourage arts organizations to provide "peak" experiences based upon their audience's hierarchy of needs. Conley is the author of Peak: How Great Companies Get Their Mojo from Maslow, an arts lover, as as the founder and CEO of the Joie de Vivre Hospitality. In his address, Conley shares his unique prescription for success based upon Maslow's classic Hierarchy of Needs. Conley illustrates how audiences are ultimately motivated by peak experiences and discusses how arts organizations can give those experiences to their audiences. Americans for the Arts streamed Conley's presentation live via Livestream. The recorded version is embedded below. (Skip to the 16 minute point to get to Conley's presentation.)

Watch live streaming video from 2010 National Arts Marketing Project Conference at livestream.com

NAMP 2010 - Day Two - Recap Discussions

David, Corwin and Amelia report out on Day Two of the 2010 National Arts Marketing Project Conference. Items discussed: disembodied panelists, Vimeo analytics, the Audience Engagement Platform, the value of quantifying intrinsic impact, and more.

NAMP 2010 - Day One - Recap Discussions

David, Corwin and Amelia report out on Day One of the 2010 National Arts Marketing Project Conference. Items discussed: keynote by Chip Heath, breakout sessions (pros and cons), designing conferences for people with varied experience levels, social media rock stars, and more.

On the Way to San Jose & NAMP 2010

Corwin, Amelia and I are heading out to San Jose for the National Arts Marketing Project (NAMP) Conference this weekend. In addition to presenting a panel on using performance video to motivate audiences and leading roundtables on Twitter and search engine optimization (SEO), we will be interviewing various presenters and arts marketing superstars for upcoming podcast episodes.

We will also be chatting with conference attendees to find out what useful information and experiences they will be acting upon when they go home.

If there are particular people whom you would like us to interview or particular questions you would like us to ask conference participants, then drop a note in the comments area below.

If you are on Twitter, you can read our thoughts about the conference by following TechInTheArts.  You can also follow the #NAMPC10 hashtag on Twitter to read the chats taking place during the conference.

Stay tuned for more from NAMP 2010 in San Jose!

Why the Arts Matter - Video Contest Winner

Earlier this year, Americans for the Arts launched an online video contest to encourage U.S. residents over the age of 13 to answer the question, "Why do the arts matter to you?" Congratulations to all of the winners!

Grand Prize Winner - Starting Artists, Inc. Over 18 Winner - Student Advocates for the Arts Under 18 Winner - Linzy Paige

Are You Getting the Most Out of Twitter? - November Webinar

Getting the Most Out of Twitter

Thursday, November 18, 2010 2:00pm-3:30pm Eastern Register today for $25 Presenter: David Dombrosky

As the ninth most popular website in the world, Twitter has quickly grown into a formidable communications platform. But what can you really do with 140 characters or less? How can arts managers make the most of this increasingly useful tool?

In this webinar, you'll learn:

• Who uses Twitter, and why they want to engage your organization.
• What aspects of Twitter distinguish it from other social sites, how your organization can use these aspects to communicate more effectively.
• The 70-20-10 rule for engagement, and how you can use it to your advantage.
• Best practices for arts organizations using Twitter
• What third party applications can arts managers use to share media, expand your reach, and much more.
• What analytic tools exist to help you chart your Twitter success

David Dombrosky is the Executive Director of the Center for Arts Management and Technology (CAMT), an applied research center at Carnegie Mellon University investigating ways in which arts organizations can use online technology to more effectively meet their goals. He frequently presents technology and social media workshops for arts conferences – most recently for The Association of American Cultures, Performing Arts Exchange, Chorus America, Opera America, College Art Association, and Grantmakers in the Arts.

Are You Making the 5 Biggest Facebook Mistakes?

In preparation for next week's webinar How to Make the Most of Your Facebook Page, I asked Maryann Devine from smArts & Culture and Jacquelyn Kittredge from e-bakery social media to share with us the 5 biggest mistakes that arts organizations make on Facebook.  Here is their reply: 1. Using Facebook as a broadcast channel rather than interacting with your fans. If your aim is to become invisible to your fans, this is the way to go. Facebook determines where you show up in your fans' default Top News stream based on the interactions of the fans and their friends with your page, and the kind of content you put up. Less interaction means your page is less visible to your fans -- the very people you want to reach.

2. Using the same voice on Facebook (and other social media) as you do in your traditional marketing. Many arts managers have trouble making that leap, and it's understandable. They're used to communicating with their patrons in a particular style -- it's hard to shake that off. The reality is that using the same voice on Facebook as you do in your ad copy is just not going to work, and you'll likely be ignored. Social media spaces are more personal, like a backyard barbeque or the kitchen table, and you need to adjust your tone accordingly.

3. Forgetting that the page is for your fans, not for your organization. As Jacquelyn often points out, fan pages harken back to fan clubs. Fan clubs were all about giving special access and fan-club-only perks to the most loyal enthusiasts. Research shows that most people 'like' Facebook pages for discounts and special offers. Keep that in mind as your interacting with your group's fans.

4. Creating a personal profile or group for your arts organization rather than a fan page. Fan pages allow you to analyze stats on how people interact with your page AND the demographics of your fans. Personal profiles and groups can't do that. Fan pages can have an unlimited number of fans. Personal profiles are limited to 5,000 friends. Most importantly, Facebook is indexed by Google and your page can improve your Google ranking -- it may be easier to find your fan page through Google than your own web site.

5. Not having a Facebook Page at all because you already have a website. People are spending more time on social networks and less time on static websites, so Facebook allows you to meet your fans where they are already are.

In addition to addressing these common mistakes, Maryann and Jacquelyn's webinar will discuss:

Why your organization may be invisible even to fans of your Facebook page, and what to do about it.

Why it’s important to engage with your Facebook fans — beyond the usual clichés about ‘conversation’ — and how to do it.

What is a ‘landing tab’ and why it gives you an advantage.

How it’s possible for even the smallest organizations to use Facebook applications like contests and advertising without breaking the bank.

The webinar is on Tuesday, October 19th from 2pm-3:30pm EST.  Registration is $25. Click here to register today.

Going Mobile - Websites vs Apps

This post also appears as part of the Arts Marketing Blog Salon hosted by Americans for the Arts.

During last week's Arts Marketing Blog Salon, Mary Trudel advocated connecting with audiences via mobile technology. CTIA, the international association for the wireless telecommunications industry, recently revealed that mobile phone market penetration in the United States reached 93% for the nation’s total population in June 2010. With usage numbers like that, there is no doubt that arts organizations should be investing in mobile engagement.

Amazon can afford to have both an app and a mobile site. But which should you choose if your budget is more limited?

The dilemma lies in whether to invest in a mobile website or a mobile application. If your organization’s budget allows you to invest in both, then you need not read any further. Congrats! However, if your organization’s budget dictates that you choose between investing in a mobile website or a mobile app, then here are some things to consider.

User base: While 93% of U.S. residents have mobile phones, the U.S. market penetration for smartphones is 31%. This means that 62% of the U.S. population uses mobile phones for which they cannot download mobile applications.

Connectivity: Whereas mobile websites require users to be connected to the internet, many mobile applications do not require an internet connection once they have been downloaded to your smartphone. This may be important for patrons who are trying to engage with your organization but are in an area where wireless service is not available.

Platforms: Mobile websites are accessible from all types of mobile devices. Mobile apps, however, are tied to specific types of devices.  For example, a patron with an Android smartphone cannot use a mobile app designed for an iPhone.  Now, you may be saying to yourself, “Yes, but iPhones are the most popular smartphones on the market, so we should just design apps for iPhones.”  If so, then you will be surprised to learn that Blackberry has 31% of the U.S. smartphone market share compared to the iPhone’s 28% and Android’s 19% according to The Nielsen Company.

Price: Mobile websites are less expensive than mobile apps, because they usually lack the design elements and functionality that make mobile apps interactive and appealing.

Expectations: What do your patrons want from their mobile experience? Have you asked them? If your patrons simply want information (hours, directions, descriptions of work, etc.), then a mobile website is entirely sufficient. If you are looking to provide your patrons with an interactive, one-of-a-kind mobile experience, then you’ll need an app for that.

In a recent New York Times article, Edward Rothstein took a look at a number of mobile apps developed by museums and concluded:

I have used museum apps to help me navigate museums. But I have generally felt used along the way, forced into rigid paths, looking at minimalist text bites, glimpsing possibilities while being thwarted by realities… It is best to consider all these apps flawed works in progress.

In a response to Rothstein’s article, Brooklyn Museum’s Chief Technology Officer Shelley Bernstein shared:

I had mixed feelings about the article – I mostly agree that these apps all leave much to be desired, but I disagree that we shouldn’t be trying. Experimentation without perfection is a good thing…Each and every visitor walking in our doors is likely to expect something different from an app, and every visitor is going to respond differently to what we provide. My point is that it is our responsibility, collectively, to try new approaches and provide as many entry points into content and the museum as possible.

So, mobile website or mobile app? Personally, I believe that a mobile website should be phase one in any arts organization’s mobile engagement plan. Okay, I hear you asking, “Why? Won’t the phone’s browser just show my desktop website?” The best way to answer that question is to try it.

Go ahead. Take out your phone. Go to the menu, and select the internet option. At the prompt, enter your organization’s web address. Try it on several different devices. You will quickly notice that your standard website looks unusable on every phone. The one exception to this may be an iPhone, but even it will require the user to point, pinch and slide their way to your information.

Even if you have an iPhone, standard websites are not as easy to navigate as mobile sites.

Mobile websites are designed and optimized with the mobile user in mind. They cut to the chase and present content that is relevant for mobile users. They present the content in a way that is optimized for mobile phone screens. But most importantly, mobile websites allow your patrons to access pertinent web content from any mobile device – not just an iPhone.

Still not convinced that your arts organization needs a mobile website? Morgan Stanley’s global technology research team recently released a report projecting that mobile internet usage will surpass desktop internet usage in 2014. If you do not have a mobile website, then the steadily increasing number of internet users who attempt to access your information via mobile devices will get the wrong content, presented in the wrong order, with a slow and costly download, and with an ill-adapted layout.

Don’t let this happen to your patrons. Even if you do not have room in your budget for a custom-designed mobile site, there are a number of resources available for converting your current website into a mobile-friendly site.

Cultivating Citizen Critics

This post originally also appears as part of the Arts Marketing Blog Salon hosted by Americans for the Arts.

For years, I have heard the lament for the rise of “citizen critics” –individuals who use blogs, social networks and other social media tools to share their reviews of performances, exhibitions, films, etc. I have listened to a number of artists, directors, curators, and other arts managers bemoan the replacement of “true” cultural critics in traditional media with these self-published citizen critics. The complaints typically revolve around a perceived lack of credentials and lack of understanding for the discipline.

While I, too, bemoan the loss of criticism in much of today’s traditional media, I must point out that citizen critics are not new. In fact, they have been around for as long as there has been art about which to have an opinion. To be blunt, we are all citizen critics. Have you ever told someone your opinion about a work of art, a concert, a performance, etc.? Of course, you have. We all have. And more of us are sharing our opinions with each other (and the world) thanks to rise of the social Web.

In August, a brouhaha erupted online between two bloggers and an actor from Canada’s Teatro la Quindicina in Edmonton, Alberta after one of the bloggers wrote a critical review of a play in which the actor appeared. Aside from serving as a case study in how NOT to deal with citizen critics, this online fracas brought to the surface a disdain held by many artists and administrators.

The reality is that citizen critics are not going away. So rather than lash out at them or quietly complain about them, why don’t we identify ways in which our organizations can cultivate them?

Consider this perspective from *ahem* blogger Corinne at Blogging by the Numbers:

Theatre blogging is a niche pursuit. But then going to sit in a darkened auditorium and watch people speak – or in the case of opera, sing – someone else’s words multiple times a month (or some times a week) is also a niche pursuit. The internet, in all its multifaceted joy, allows a niche to flourish. Like attracts like (or compels like). It not only cements tendencies (that of reading about theatre, of continuing going, of knowing more than you could ever keep in your head), it also allows tendencies to grow. Knowing there is a community of people out there doing the same thing – theatre-going is a tribe as much as anyone else. Of course not all repeat theatre goers blog but, in 2010 with the ease of Google, I’d be surprised to find a repeat theatre-goer (who wasn’t directly involved in the industry*) who had never read a theatre blog. These people – the people whose names might otherwise be simply one in a marketing database – should be hugely valued (and respected).

How can you embrace citizen critics? Here are a few initial ideas to consider:

1. Send press releases optimized for social media to citizen critics whom you’ve identified in your community.
2. Host “meet-ups” for local online critics, where they can interact with each other as well as directors, performers, writers, curators, etc. There are proponents of hosting these “meet-ups” prior to the artistic experience and others who prefer to host them as follow-up events.
3. Draw inspiration from programs like the Broward Center for the Performing Arts’ Teen Ambassadors and encourage young audience members in your community to write reviews and share them with their peers through online social networks?
4. During intermission, encourage the audience to pull out their mobile phones and send status updates or tweets with their impressions of the performance.
5. Consider using tools like Talkbackr to actively encourage your audience to provide you with feedback.

That’s enough out of me. What ideas do YOU have?