Baby Boomers, Facebook, and the Australian Example.

Reluctance to embrace social media as an appropriate avenue for reaching arts patrons has often been blamed on the demographics of the user base. Many people look at sites like Facebook and immediately write them off as platforms only representing a younger generation. Not any longer. In 2010 educated adults over the age of 40 comprise the fastest growing demographic on Facebook, the age group 55+ grew by over 900%, and 40 million Facebook users in the US are now over the age of 40. This exposition of established professionals opens up the world of social networking even wider and begs the question: Are we properly using social media in the arts?

With 10 million Facebook users over the age of 55, Baby Boomers are staking their claim in the world of social media. This new demographic is college educated, professionally employed, and comprised of over 60% women. If that sounds familiar, you might be recalling the audience profile for the average arts patron in the U.S. The fastest growing segment on Facebook matches the traditional arts patron in the United States almost perfectly.

Other social media platforms have experienced similar growth outside of the traditional 18-34 age bracket. Currently users between 35 and 55 comprise the largest age bracket on Twitter. LinkedIn’s primary constituents are over 50 and MySpace continues its strong hold on original members now between the ages of 30 and 50.

These statistics along with the growing momentum around interactive websites, electronic outreach, and digital networking make social media the next frontier for audience development in the arts.

Innovations in social media within the arts have already sprouted around the country with great success:

• Characters from plays now have their own Facebook accounts to entice theatre goers to interact with them before and after the show.
• Interactive confession booths in galleries across the country load videos directly online for audiences to view and interact with.
• Viral online marketing is playing a larger and larger role in making buzz around productions and increasing web traffic.

But is it enough?

We can look to Australia for a prediction. Australia adopted social media faster that the US, UK or mainland Europe, with the highest user rates per capita in the industrialized world and the highest percent of users over the age of 35. Arts organization in Australia use Social Media to interact with patrons before, during, and after performances/exhibitions.

In the article Geeks, tweets and bums on seats, Elissa Blake discusses the adoption of social media in Australia and its affects on the arts. In the article, she writes about a production of King Lear where a woman asked permission to tweet during the performance. When asked why she did so, her response was:

It's about sharing your emotions and your experience of the show. You might have a favourite scene or a line that you love and you want to share it instantly. I thought King Lear might be dry, but it was really interesting, and I wanted my friends to go and see it...

Many Australian arts organizations and artists see social media platforms as a way for audience members to interact with companies, individual artist and each other. This interaction builds new passions for attending live performances as friends that could not attend receive enticing updates through their Twitter feed. This free viral marketing increases audience participation and makes Australia a leader of innovation in social media for the arts.

Fee Plumey, the digital program officer at the Australia Council for the Arts stated:

If arts companies want to attract new audiences, they have to jump in and chat about the minutiae of what's going on, Audiences are not just interested in a celebrity on stage. They really want to know how the show works, how the set was made, how it was cast, who's doing the lighting and what goes wrong… [social media provides that outlet].

Australia is a great case study for how social media can affect the arts. Now it is time for the US to see how social media can be creatively applied in audience development within our own country.

Animoto: Create videos without a video camera

Many arts organizations have experimented with using “trailers” to promote upcoming performances or exhibitions. But what if you don’t have the time, equipment, or expertise to film and edit a video?  What if all you have are photos? Enter Animoto, a free tool that lets you quickly create short videos using a combination of photos, text, and/or video clips of up to five seconds in length.  You can choose background music from Animoto’s library or upload your own.

To try it out, I created this 30-second promotion for Misnomer Dance Theater's performance back at our 2008 conference.   It took about 20 minutes, including the time I spent actually finding the photos on our Flickr account.

The process is a pretty straightforward drag-and-drop design. You can add text and choose particular images to “spotlight” with extra screen time. Once your elements are arranged, one click mixes them together into a flashy 30-second video.

Other than changing the order of your elements, though, you don’t have a lot of control over the final product. Because Animoto automatically mixes the elements together for you, there’s no opportunity to fine-tune individual transitions. This is great if you’re looking for something quick and easy, but it can be a real downside for the more detail-oriented user.

Throughout the process, there is a strong push to upgrade your account, which can get a little annoying. If you’re with a 501(c)3 organization, you can request a free Pro account (normally $250/year), which allows you to make full-length, high resolution videos that are downloadable. The Pro account also includes a commercial-use license.

What have you created with Animoto? Do you have other favorite video tools?

Audience 2.0, Part II: Thoughts for the Future

Check out Part I for an overview of the NEA’s recent report Audience 2.0: How Technology Influences Arts Participation While Audience 2.0 gives some useful statistics on technology and media participation in the arts, the report does not provide the answers or the data that I am looking for regarding arts participation and technology.

• How does arts participation through one technology affect participation in other technologies?  For example, how does participating through television affect web participation?
• What impact has social media had on arts participation?
• How do people participate in the arts digitally and online?  What are they doing on the web when they are participating?
• Has participation in the arts via technology affected online giving to arts organizations?

Audience 2.0 draws into question the timeliness of national arts research, the vehicle being used to conduct this research, and the understanding of where arts audiences are heading in the future. This report was a useful audience analysis for 2008, but the survey upon which Audience 2.0 bases its analysis lacked a sense of forward motion as well as the ability to predict future arts participation through rapidly changing technologies.

The data used in Audience 2.0 was gathered three years ago before many current technologies were available and before many new technology users had invaded the digital market.  In his blog post Back To The Future, on Danceusa.org, Marc Kirshner states that:

Since the beginning of the 2007 survey period [for the 2008 report]:

• Four generations of iPhones have been released [and the Android network has been launched]
• Facebook’s user base has grown from 20 million to 400 million users
• The entire book publishing industry has been turned upside down by e-readers, such as the Kindle, Nook and iPad
• Millions of set-top boxes, Blu-ray DVD and home theater PCs have connected televisions to broadband Internet
• Hulu launched its online video service to the public
• More than 300,000 people viewed simulcasts and encores of the Metropolitan Opera’s Carmen
• The first 3-D network began broadcasting

The three year time gap between data collection and report publication created a lack of focus on many forms of new media and social networking platforms currently leading many technology discussions in the nonprofit arts industry today. Correspondingly, the relevance of the report in our current environment is brought into question, and we must remember that the report represents a snapshot in time more than a study of current habits. Due to the speed with which technology advances and its usage changes, traditional forms of data collection and publication no longer appear as useful for tracking these trends.

The survey asks about participation in the arts through technology, but Audience 2.0 does not provide answers about specific actions and their effects. The survey does not ask participants if electronic and digital media makes them more or less likely to attend a live event, but the report draws based upon a perceived correlation in the participation data. Without causality data, this correlation leaves us with a “chicken or the egg” dilemma.  Does electronic/digital/online participation in the arts lead to an increase in live participation, or are participants in live arts events simply more likely to participate in electronic/digital/online arts events?

I would like to see more direct questions being asked of people who responded that they participated in the arts through electronic and digital media. Obtaining this next level of understanding will provide us with a deeper understanding of the effects of electronic and digital media on arts participation.

Audience 2.0 raises more questions than it provides answers, but it does show a commitment on the federal level to assess the impact of technology on the arts. I am hopeful that future reports will delve deeper into the seemingly symbiotic relationship between technology and arts participation by focusing more specifically on the  digital/online arts participant.

Foursquare: Helping You Find Your Favorite Playground

Foursquare is one of the newest social media platforms to be embraced in the last year and one of the most promising new applications for businesses. According to the website, foursquare is “a mobile application that is a cross between a friend-finder, a social city-guide, and a game that encourages users to explore their neighborhoods and rewards them for doing so.” The point of the application is to help users explore their surroundings, discover new things and share their experiences with others. Foursquare uses micro-blogging similar to twitter and interfaces all of the check-ins (posts) with a virtual map. In doing this, users tag locations, businesses and events that they are currently attending for their friends to see and read about. It is a way to share knowledge, play a game and receive promotions and rewards from businesses simultaneously. Due to the mobile aspect of the application, most Foursquare users interact with the site through smart phone applications.

The game portion of Foursquare is what sets it apart from other applications that allow users to tag locations with their posts. In foursquare, a user gets points and earns badges for checking-in at different locations, the frequency of their check-ins and the uniqueness of where they travel. An example would be the Starbucks honorary barista badge. If someone checks into five different Starbucks locations, they become an honorary barista and earn the barista badge. Starbucks is tying this badge into their customer loyalty program and offering promotions and discounts to their honorary baristas.

Collecting badges has become very trendy in many urban settings and adds a fun aspect of competition to social media. Badges are just one option that Foursquare is offering for businesses to promote themselves on the site.

Many businesses are using:

• Mayoral specials – specials unlocked by foursquare to the person who has checked-in most frequently over the past 60 days
• Frequency specials – specials that are unlocked by foursquare to users every ‘X’ number of check-ins
• Check-in specials – a one time special unlocked by foursquare after ‘X’ number of check-ins or for checking-in at a specific time or date
• Wildcard specials – not managed by foursquare, but verified by the businesses staff

Once a business sets up an account with Foursquare and tags its location on the Foursquare map, users can click on the location to receive a brief description and a To-Do list. The To-Do list is a list of recommendation that the business and other user have provided for the location. A museum might add an exhibit, event or activity to their to do list along with whatever recommendations other users have added. This along with check-in based promotions adds a new level to social media marketing and community building technology for arts organizations.

How businesses can utilize Foursquare:

• Tag the location and business on the Foursquare map
• Add a brief description of the location to the map
• Link twitter account to Foursquare to increase activity
• Add items and recommendation to the To-Do list of the location
• Integrate check-in and badge based promotions
• Use Foursquare as a part of a customer/patron loyalty program

Foursquare is also providing an analytics system for businesses. Foursquare analytics has a personalized dashboard for each business that shows which users are checking-in at their locations most often, what time the location has the most Foursquare traffic, and how many check-ins are being linked to other social media plat forms. It gives a demographic breakdown of their Foursquare patrons and provides information such as total check-ins, total unique check-ins, and statistics based on daily, weekly, monthly and annual traffic. This type of data is priceless to organizations and adds a way to track profitability, return on investment, and patron use.

Foursquare is less than two years old and already has over 500,000 users. The integration of social media, entertainment and business prowess makes this company a very promising investment for the arts community. Foursquare has shown enormous potential and incredible growth. It has the possibility of becoming the next Twitter and is offering much greater potential for businesses to harness the power of social media while creating a new outlet for promotions, marketing, and community building.

We Have A Castle, Write Us An Opera!

Every good castle needs an opera company, or so the Savonlinna Opera Festival of Finland would lead you to believe.  They have been performing at St. Olaf’s Castle in Savolinna, Finland since 1912.  The festival took a 50-year Hyades between 1917 and 1967, but since its re-inception in the 60’s has been known for its cutting edge works and operatic premiers. Starting in their 2010 season they have decided to push the envelope of innovation even further. The Savolinna Opera Festival is crowdsourcing an opera for its 2012 season through a new project: Opera By You 2012

They are asking the public to write an opera from beginning to end for their 2012 season. They want the world to create everything from the story, set design and costume design to the music and libretto. Savolinna is providing the performers, the crew, and an orchestra; the public is providing the opera.

To my knowledge this has never been done before in Opera and certainly not to this extent. The Savolinna Opera Festival is taking advantage of wreckamovie.com to host their crowdsourcing forum. The site was originally set up for crowdsourcing movies, but also seems to be working well for opera. The only major problem I could find was the lack of music sharing technology on the site. It is still not clear how the composers will collaborate on the score for the opera.

Currently, members are working on the plot synopsis for the opera within the online forum. There are ideas ranging from aliens to sea monsters and insurance salesman to princesses, a true amalgamation of creativity. The opera is still in its early stages of creation and nothing has been set in stone yet.

I was a little frustrated that I could not find any information on how they are going to decide which ideas to use. It is not clear from the website if the management is making those decisions or if the public is going to vote. I am personally a fan of putting as much ownership on the collaborators and public creators as possible. The idea that an opera company would forgo control and perform whatever the public wants to see is very exciting.

Opera By You 2012 has the potential to change the world of opera and set a new benchmark for the use of technology in the ‘high arts’. This project is breaking many of the stereotypes typically associated with this art form and opening opera to a much wider audience. Opera By You 2012 is not about tradition or ‘the classics’, it is about making new art and opening up an opportunity for the masses to interact with opera.

Technology is helping this arts organization reach out to the world and break down some of the barriers that keep many people away from the classical music realm. Crowdsourcing taps the collective creativity of everyone involved and creates a product that is not only designed for an audience, but by them. This type of innovation is what keeps the arts current in our society. It will be very interesting to see how this opera materializes and the impacts that it will have on the world of opera.

Four free online tools you should know about

Roving arts management reporter, reporting for duty! I’m taking a brief break from my summer gig at Wolf Trap Opera Company to resume my TitA duties and re-cap the delights of the Opera America Conference this week in Los Angeles. Conferences are great places to exchange ideas. I always come away with a list of things to check out. Here are a few great free tools on my list:

• Box.net—Simple online file sharing. Can be used instead of a share drive, OR as a way to upload your season brochure for easy patron download.

• Pitchengine.com-the social PR platform—Make fuss-free digital press releases with easy links to multimedia. No coding, no WYSIWYG editor screwing up what would otherwise be a reasonable task.

• Twitalyzer.com- Does a slogan like “serious analytics for social relationships” take the fun out of Twitter? No way! Track your impact through hard data, not just anecdotal evidence.

• Polleverywhere.com-create polls that audience members can answer via SMS text messages, Twitter, or the web. Some great advanced features for a little extra money, too!

[And I won’t assume you don’t know about Foursquare.com. If you’re not offering people who check in (or your “mayors”) something cool, look into it.]

And I must mention one that is not free (but cheap): Wildfireapp.com is ideal for setting up campaigns, coupons, and sweepstakes. Great way to capture data on your patrons.

Also, this is pretty sexy: operabyyou.com

Look for conference interviews by yours truly coming up on future Technology in the Arts podcasts!

Thanks to Ceci Dadisman and Palm Beach Opera for many of these sites!

How to Opt Out of the Facebook Mistake

Facebook’s privacy settings and the wave of controversy they caused have created a new level of user awareness when it comes to personal information on web-based technologies. The Palo Alto giant decided to roll out a new program where people were automatically opted in to share their personal information across the web that they had saved on Facebook. Facebook coupled this roll out with a poor explanation of what it was, who it was affecting, and how users could manage it. The convoluted privacy controls and constitutionality were hit hardest, but they were not the real problem in this case. The actual problems here lie in communication and choice. I agree with Mark Zucherburger that a more open Internet is a better Internet and that the more people share, the more social the Internet will become. Unfortunately, sharing ones personal information needs to be a choice and users need to understand how and why they are sharing their information. “Because it’s good for you” is not an acceptable answer for most people.

Arts organizations in the US need to take this Facebook quagmire and use it as a case study for their own e-marketing and e-mailing policies. Communication and choice will lead to stronger web based support and a happier constituency.

Things arts organizations should keep in mind:

1. E-mail and e-marketing should almost always be opt in for supporters
2. Organization should explain why and how they will be contacting people
3. If possible, users should be able to customize what they receive
4. Opting in and opting out should be very easy and take little effort
5. Safety measures on how the organization will protect a users personal information and contact information should be clearly stated on the website and reiterated in the first e-contact

Opt in policies are generally the most effective and considered to be best practice. This is where Facebook made their fatal mistake and where arts organizations need to ensure they are excelling.  Organizations only want people to receive information that want to receive it. By allowing people to opt in to programs, the organization is letting the individual take responsibility and targeting individuals who want more contact with the organization.

Once someone has opted in to e-marketing and/ joined the e-mail list for an organization, they should be able to choose what they want to receive information about. Maybe they only want information on ticket sales or a certain type of programming. Maybe they only want the annual report and education programming. Being able to customize what information they receive will help keep them more engaged with the organization and make them less likely to opt out or stop reading e-blasts.

Finally, people should feel safe giving an organization their e-mail address and personal information. With all of the information sharing, spamming and possibilities for profit, consumers are very wary of giving away any contact information these days. Post on your website and in the confirmation e-mail how you are protecting their identity and their personal information. These practices will help any organization build a strong e-mailing list and e-marketing campaign.

Micro-donations: Proving Size Doesn’t Always Matter

The Obama campaign, the Nelson Mandela Foundation, and The American Red Cross have all embraced electronic micro-donation campaigns as an effective tool in gathering financial and community support for their causes. The prominence of these cases and their rampant success provides the evidence necessary for arts organizations to begin adopting this new technology to enhance their current giving campaigns. These organizations altered the traditional view of contributed income by looking at three hundred $10 donations as equal to and in many ways greater than one $3,000 donation. This logic has very little to do with the amount of money being given and much more to do with the amount of people giving it. Micro-donation campaigns are about involving as many people as possible and using their collective support to raise awareness as well as funds. They are not just about filling the coffers. They are about educating donors, building support, and cultivating future participation and giving.

A micro donation can be defined as a small gift usually given through electronic media and most often associated with the support of a cause, project, or individual. Point-and-click web based interfaces, e-mail, and SMS txt messaging are the most popular and effective platforms.

Reasons to start a micro-donation giving campaign:

• Small time commitment from management
• Little implementation cost leading to a large return on investment
• Widening donor market segments
• Generating new donors and interest
• Creating ‘buzz’ and word-of-mouth support
• Ease of social media integration
• Building momentum, education, and visibility of the organization

Having acknowledged these benefits, micro-donation campaigns have not been proven effective for annual giving platforms, large gifts or operating funds. They have been proven effective in supporting specific projects, programs, campaigns, and Individuals.

A recent article written by Rich Mintz, the man behind both the Obama Campaign and the Haiti relief effort by the American Red Cross provided 5 big tips to help organizations set up a successful micro-donation campaigns and/or internet giving program.

1. Make it easy to give money and sign up online
2. Reward people who have just signed up with useful follow up contact and content
3. Communicate how much donations matter (even the very small ones)
4. Create online participation opportunities
5. Give people a sense of what’s going on backstage – and in your back offices.

To elaborate:

• Micro donations should be the easiest way a person can give money to an organization. It should take less than three clicks on a website or the simple task of responding to an SMS txt message or e-mail.
• Donors want to know more about an organization once the feel they have invested in it. Send an initial personalized e-mail or SMS text message to donors within 24 hours elaborating on what they are supporting and how they helped.
• Every donor even one who only gives $5 should feel like they have made a difference and created impact. By framing their support this way, the organization is setting itself up for future involvement and donations.
• Creating an online community and an interactive online space provides an outlet for people to be involved with the organization outside of the physical space.
• A behind the scenes look at an organization shows transparency and provides a sense of community. It puts faces, personalities and people with the names, this is important when building support,

Technology has provided a new and proven opportunity for cultivating contributed income in the current economy. If adopted, these campaigns will soon be key in cultivating new donors, creating new support and sheering up funding for new and innovative projects in the cultural community.

Four Free Analytic Tools for Facebook and Twitter

Fan Page Analytics This tool helps you learn more about your Facebook fans by seeing what other pages they like. This easy, fun, and free tool is a nice complement to Facebook’s simple analytics. Knowing what your fans like can help you build your case for potential sponsors. The site's map function shows you states or countries where the highest concentrations of your fans live. This information could help you to place more strategic Facebook ads – especially if you’re a touring artist or group. Try it for your organization, and let us know what you discover.

Twitalyzer

This robust set of metrics and reports creates a nice snapshot of your current Twitter usage. The Dashboard tool also gives you advice for improving metrics like impact. A recent write-up from Mashable directed an overwhelming amount of traffic to Twitalyzer’s servers yesterday – We’re looking forward to exploring more of the features when things calm down a bit.

TweetEffect

Find out what posts coincide with your account gaining or losing followers. TweetEffect lists your recent posts, displaying the posts in green or red as you gained or lost followers. Interesting information, but don’t forget that correlation isn’t necessarily causation…

Tweet Psych

Enter your twitter account name, and Tweet Psych creates a “psychological profile” of your account. The profile shows how often your tweets fall into general categories, theoretically giving you insight into your online persona. According to our profile, TechInTheArts tweets most about learning and work. What a serious bunch we are!

Technology as competition for the arts

I recently watched Ben Cameron speak at the Emerging Leaders Conference at American University. He addressed the role of technology in the arts--that the internet was seen as the panacea for marketing but now it brings 6,000 competitors to our patrons' attention every day. (see below for similar address by him at the TEDx Conference) Ben Cameron at TEDx

In the Tech in the Arts blog, Corwin and I often talk about the ways technology can enhance and promote the arts. But we don't talk as much about the competition that arises from technology. As a field, arts professionals tout technology as the future of the business, and some of us embrace it. But as much as it is our friend, it is also our competitor.

I’m not suggesting that database software, mail-merge, and online information-capturing haven’t saved hundreds of hours of work and made life generally less tedious. But it has also made entertainment more accessible and available than ever before.

I've spent my first year in graduate school at Carnegie Mellon researching how arts professionals view and use video footage. There's much concern about video of performances competing the performances themselves, especially amongst the artists themselves. And I suppose there's a way to protect your organization against that--just don't produce video. And that's the route many smaller organizations take, when faced with musician's union fees or the reticence of an artistic director, or even just not being able to get a straight answer from the legal department. But then there’s competition from other arts companies, and entertainment industry. In many ways you can't protect your organization against the wider world.

People are getting used to consuming their entertainment in the comfort of their homes, or accessing it on the fly from mobile devices. They get it on demand. They get it personalized.

I still think the live arts add so much value to society—I wouldn’t be in the Master of Arts Management program or writing for this blog if I didn’t. I feel strongly that live arts have a lot on technology: the uniqueness of audience interaction, connection with large groups of people simultaneously, the shared experience of a story, and so much more.

I know I’m not the only one that feels that way in my generation. But I also feel like I’m in the minority. For every person like me who can recognize a Bach fugue or would much rather go see Il Trittico than Letters to Juliet, I know that there are probably 10, 25, maybe 100 other 26-year-olds out there who are happier consuming their entertainment solely via Glee on Hulu or playing Rock Band.