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Making Principal Preparation a Team Sport15445 <p>Educational leader, culture-setter, community liaison…The role of the principal has become more demanding in the twenty-first century, and principal preparation programs haven’t always been able to keep up. Part of the problem is that it’s rare for university-based programs to work closely with the school districts that hire their graduates. Starting in 2016, seven universities set out to change that as part of the Wallace-funded University Principal Preparation Initiative (UPPI). After year one of the four-year effort, the universities succeeded in forging strong partnerships with districts and other key players—the first step in overhauling their programs and sending out better-prepared principals.</p><p>How they did it is the subject of a new report by the RAND Corporation titled <a href="/knowledge-center/pages/launching-redesign-university-principal-preparation-programs.aspx?_ga=2.209301970.1951641179.1542038823-1057583374.1513009179"><em>Launching a Redesign of University Principal Preparation Programs&#58; Partners Collaborate for Change</em></a>. We spoke with Elaine Wang, one of the report’s authors, about the challenges and benefits of the collaborative approach.* &#160;</p><p><strong><img class="wf-Image-Left" alt="Wang-photo.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Making-Principal-Preparation-a-Team-Sport/Wang-photo.jpg" style="margin&#58;5px;width&#58;167px;" />What is the problem that the University Principal&#160;Preparation&#160;Initiative is seeking to help solve?</strong></p><p>School district leaders around the country express concern about the quality of candidates applying for principalships. They’re just not ready to step into this important role. This is due in part to shifting (and many would argue increasing) expectations for school leaders.&#160;The job of a principal includes establishing a positive school culture, providing instructional leadership, hiring and supporting teachers, managing a budget, ensuring compliance with federal, state and local requirements, developing community partnerships, and the list goes on.&#160;Some principal preparation programs have struggled to keep up with the changing expectations and diverse needs of the schools served by their graduates. </p><p><strong>Why was it important for the seven participating universities to establish strong working relationships with the school districts that hire their graduates?</strong></p><p>UPPI refocuses principal preparation programs so they think of districts, rather than aspiring principals, as their “customers.” District leaders—superintendents, assistant superintendents, talent office directors—understand the skills their principals need to have and the situations they will likely face. By drawing on this knowledge, preparation programs can identify areas for improvement, so they can prepare more effective principals. When the program and district establish a strong working relationship, together they can ensure, for example, that candidates have strong mentor principals or that course instructors have relevant, practical expertise. We’re also beginning to see in some UPPI districts that the collaboration between universities and districts on principal preparation can grow into other mutually beneficial areas, such as preparing teachers to step into leadership positions and providing support after program graduates enter leadership positions.</p><p><strong>How did the universities and school districts go about forming and cementing their partnerships?</strong><br> &#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br> The universities looked first to engage districts with which they already had a relationship. In some cases, this was a formal relationship—for example to support a district-specific cohort within the larger principal preparation program.&#160;In other cases, there were informal relationships because the preparation programs hired district officials as adjunct faculty or districts frequently hired program graduates. Some universities and districts established connections where there were none before. <br> &#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;<br> There were several early activities that helped them build and deepen their partnerships. First, they worked to articulate and agree on what candidates graduating from the program should know and be able to do. For some teams, this was a very intensive process. Having a common objective helped them understand and work with each other even when there was disagreement. Next, they reflected on and identified the strengths and weaknesses of the existing program. Finally, they each developed a logic model to help guide change. This process allowed all voices to be heard, rallied everyone around the same goals, and secured a commitment on everyone’s part to help to reach those goals.</p><p><strong>What is the biggest challenge the universities and their partners have faced in redesigning the programming, and how are they tackling it?</strong></p><p>Universities and their partners are grappling with how to craft a set of coherent experiences that prepare candidates for an inherently complex job in a wide range of school settings. It’s an ambitious undertaking. For example, the teams used a research-based tool to assess the strengths and weaknesses of their existing programs and identify areas for improvement. They also worked together to develop learning experiences outside of traditional classroom instruction, such as modules linked to field-based experiences and milestone assessments that span multiple courses.</p><p>Several UPPI teams were confronted with turnover among the staff working on the initiative, as well as key supporters like university presidents, provosts, deans, and school district superintendents. Some teams prepared for this inevitable turnover by cross-training their staff, so that someone was always prepared to step in when a team member was unavailable. Some relied on strong documentation, to help onboard new team members and organization leaders. In all cases, the university-based project lead took time to brief new team members in order to smooth out the transition.</p><p><strong>What has surprised you in your research to date?</strong></p><p>One thing that has surprised us also surprised many of the universities and their partners&#58; how much they were able to learn from each other. Because they listened to district leaders, university leaders began to understand that principals—including their own graduates—needed more explicit guidance and practice in areas such as communication and cultural responsiveness. District leaders found that being authentically involved in shaping the principal program caused them to rethink their expectations for their school leaders. We heard repeatedly from district, university and state leaders that working closely with their partners has prompted them to fundamentally retool how principals are developed and supported. The UPPI programs are sharing their experiences, strategies—and in some cases revised syllabi and program materials—with programs across their state and beyond.</p><p><em>*This interview has been edited and condensed.</em></p> RAND’s Elaine Wang on how seven universities are learning to think of school districts as collaborators and “customers”GP0|#3fabc3e0-eead-49a5-9e92-99d8217d8607;L0|#03fabc3e0-eead-49a5-9e92-99d8217d8607|principals;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#6c89f83b-8eff-469d-bb0d-84019525becf;L0|#06c89f83b-8eff-469d-bb0d-84019525becf|effective principal leadership;GP0|#5c8741a8-5f81-440f-b89e-72db998344f4;L0|#05c8741a8-5f81-440f-b89e-72db998344f4|principal trainingGP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61Wallace editorial team79<img alt="" src="/News-and-Media/Blog/PublishingImages/elane-wang-lg-feature2.jpg" style="BORDER&#58;0px solid;" />2018-11-20T05:00:00ZRAND’s Elaine Wang on how seven universities are learning to think of school districts as collaborators and “customers”11/20/2018 2:56:05 PMThe Wallace Foundation / News and Media / Wallace Blog / Making Principal Preparation a Team Sport RAND’s Elaine Wang on how seven universities are learning to think of school https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Experienced Hands Help Marketers Refine Strategies to Build Arts Audiences14839<p>Marketing and communications professionals from arts organizations around the country come together every year for the <a href="https&#58;//namp.americansforthearts.org/get-smarter/conference" target="_blank">National Arts Marketing Project Conference</a>, an event hosted by the advocacy and support organization <a href="https&#58;//www.americansforthearts.org/" target="_blank">Americans for the Arts</a>. Here, they share ideas about how they can engage larger numbers of ticket-buyers and reverse decades long declines in arts audiences in the U.S.</p><p>The conference often includes panels on the nuts and bolts of marketing&#58; effective use of social media, making sense of web analytics, best practices for email marketing and the like. </p><p>This year’s event, held in Seattle in November, featured a pre-conference workshop that took a broader view of audience development. About 90 attendees huddled together to identify major hurdles they encounter when trying to build audiences and propose solutions to overcome them. They had more than just their collective wisdom to work off, however. They could also rely on the experiences of Ballet Austin, the Pacific Northwest Ballet and the Seattle Symphony, three organizations participating in Wallace’s <a href="/how-we-work/our-work/pages/building-audiences-for-the-arts.aspx">Building Audiences for Sustainability initiative</a>, and on the research of Bob Harlow, a market research expert who has been observing Wallace’s audience-development efforts for years.</p><p>The problems participants identified, and their proposed solutions, may sound familiar to many arts organizations. The panel used its experience and research to add important context.</p><p>“People think we’re elitist,” said one person trying to bring more ethnic diversity to her audiences. Would they change their minds if they saw more diversity in the organization?</p><p> <img class="wf-Image-Left" alt="NAMP-final2-lg-feature.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Experienced-Hands-Help-Marketers-Refine-Strategies-to-Build-Arts-Audiences/NAMP-final2-lg-feature.jpg" style="margin&#58;5px;width&#58;529px;" />A bit of familiarity could go a long way, said Charlie Wade, senior vice president of marketing and business operations at the Seattle Symphony. The symphony <a href="/knowledge-center/pages/can-the-citys-boom-mean-new-audiences-for-seattle-symphony.aspx">increased retention rates by 12 percentage points</a> among target audiences simply by assigning staff members to greet visitors by name. A personal connection, he said, especially when greeters look like the audience an organization is hoping to attract, could pay dividends.</p><p>“People are not certain about the value they will get and whether it is worth their time and money,” said another who was hoping to draw audiences to edgy, contemporary performances. Could they be convinced if the organization recalibrated costs and benefits by offering discounts or explaining why the performances are important?</p><p> <img class="wf-Image-Right" alt="NAMP-final3-lg-feature.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Experienced-Hands-Help-Marketers-Refine-Strategies-to-Build-Arts-Audiences/NAMP-final3-lg-feature.jpg" style="margin&#58;5px;width&#58;192px;" />“Uncertainty is complex,” responded Cookie Ruiz, executive director of Ballet Austin. It is more important, she said, to sell a story than it is to offer deals or recount the history of an art form. <a href="/knowledge-center/pages/ballet-austin-building-audiences-for-sustainability.aspx">People go to the ballet for social experiences or emotional rewards, her organization’s research suggested, not for ticket prices or a performance’s place in the artistic tradition</a>.</p><p>“Our audience is so damn tired. Why would they want to try one more thing?” asked one woman hoping to draw busy young professionals. Could previews of events help entice them?</p><p>Lia Chiarelli, director of marketing and communications at the Pacific Northwest Ballet, believes they could. “You need to give people a little something to go on,” she said. <a href="/News-and-Media/Blog/pages/showing-young-people-they-belong-at-the-ballet.aspx">Her organization offers live events and video previews that are drawing thousands of teens and young professionals every year</a>. </p><p>Implicit in these ideas was an emphasis <a href="/News-and-Media/Blog/pages/encouraging-frequent-attendance-for-the-arts.aspx">on the audience’s journey</a> from a passing interest to a lasting commitment. “Starting with empathy [for the audience,]” said Ruiz, “and then removing the points of friction along the way is a great way to start.”</p><p> <img class="wf-Image-Left" alt="NAMP-final4-lg-feature.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/Experienced-Hands-Help-Marketers-Refine-Strategies-to-Build-Arts-Audiences/NAMP-final4-lg-feature.jpg" style="margin&#58;5px;width&#58;423px;" /> </p><p>Bob Harlow, who has authored <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences.aspx">several detailed case studies about Wallace-funded audience-development efforts</a>, added a larger point to the discussion. He pointed to <a href="/knowledge-center/pages/the-road-to-results-effective-practices-for-building-arts-audiences.aspx">nine effective practices he distilled from these case studies</a>. “My group found that of the nine effective practices, only five have to do with building relationships,” he said. “The other four are all about organizational factors.”</p><p>Success is impossible without a sustained commitment and a coordinated effort throughout an organization, he said. Pacific Northwest Ballet would not have seen the success it did with younger audiences, Harlow said, if Artistic Director Peter Boal had not recognized their importance for the future relevance of the art form and the organization. <a href="/News-and-Media/Blog/pages/research-and-self-reflection-help-strengthen-community-ties.aspx">The Fleisher Art Memorial in Philadelphia would not have increased local youth participation by 13 percentage points</a>, he added, if the organization’s leaders hadn’t decided that the organization had to change with its neighborhood.</p><p> Such changes don’t come without resistance from within the organization, Harlow added. But this resistance must be heard and understood. “They care about the organization and that’s where the resistance comes from,” he said of staffers who may be unhappy about proposed changes. “They are your allies. Don’t shut them down.” </p><p><em>Top left photo&#58; Charlie Wade, senior vice president of marketing and business operations at the Seattle Symphony. </em><em>Right side photo&#58; Cookie Ruiz, executive director of Ballet Austin.</em></p>Three arts organizations and a researcher share lessons they’ve learned about practices that help attract and retain new audiences GP0|#7ee74777-f4ad-4204-a3cc-1a02bb45abab;L0|#07ee74777-f4ad-4204-a3cc-1a02bb45abab|arts audiences;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#8285f1ba-f9e6-4e3d-9bc3-f280d24fce3c;L0|#08285f1ba-f9e6-4e3d-9bc3-f280d24fce3c|audience journey;GP0|#a0d4f287-6ff9-448d-8c80-654a5fcb15c1;L0|#0a0d4f287-6ff9-448d-8c80-654a5fcb15c1|market researchGP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61Wallace editorial team79<img alt="" src="/News-and-Media/Blog/PublishingImages/NAMP-final1-lg-feature.jpg" style="BORDER&#58;0px solid;" />2018-11-15T05:00:00ZThree arts organizations and a researcher share lessons they’ve learned about practices that help attract and retain new audiences11/16/2018 3:00:51 PMThe Wallace Foundation / News and Media / Wallace Blog / Experienced Hands Help Marketers Refine Strategies to Build Arts Audiences Three arts organizations and a researcher share 127https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
“Principals Under Pressure”: Preparation and Support Can Make a Tough Job Easier13730<p>Schools were created for learning—from young kids mastering their ABCs to high-school students developing career skills and everything in between. A new <em>Education Week</em> series shows just how much principals are learning too.</p><p>In the recent special report <a href="https&#58;//www.edweek.org/ew/collections/principal-solutions/index.html?cmp=soc-edit-tw">“Principals Under Pressure,”</a> school leaders spoke candidly about the most challenging parts of the job—which <em>Education Week </em>argues is the most demanding and complex in the K-12 system&#58; “Six issues came up, over and over,” the series cites, “Safety, student mental health, dealing with toxic employees, handling the complex needs of special education students and their families, holding on to the best teachers, and time management and work-life balance.” </p><p>Over the years we’ve learned the extent to which <a href="/knowledge-center/Documents/How-Leadership-Influences-Student-Learning.pdf">high-quality principals are vital to the effectiveness of schools</a>. But <em>Education Week’s </em>articles underscore just how challenging the principalship can be, and point to a need for better preparation and support to help principals face the real-world demands of the job. </p><p>According to a 2016 survey, many district and university leaders <a href="/knowledge-center/pages/improving-university-principal-preparation-programs.aspx">agree</a> that most university-based preparation programs have not adequately prepared principals for today’s challenges. To test how these training grounds can change to better prepare future leaders, we launched the four-year University Principal Preparation Initiative in 2016. Seven universities are seeking to redesign their programs to reflect the research on what constitutes high-quality principal training. A key aspect of the redesign is immersing principal candidates in school life. The participating universities are boosting internships and field experience to offer genuine leadership experience, and they’re closely tying these real-world experiences to what’s taught in courses.</p><p>Importantly, the universities are doing this work through partnerships. Partnerships between principal training programs and school districts are rare, but they can help training programs respond to district needs and are <a href="/knowledge-center/pages/improving-university-principal-preparation-programs.aspx">essential</a> to high-quality instruction. Each university training program in the initiative has partnered with at least three school districts that hire its graduates, a state education office and a mentor university training program. </p><p>At the outset of the initiative, the universities worked with their partners to agree upon expectations for their graduates. They examined their current programs to identify strengths and weaknesses, and then they mapped their goals and strategies. Curriculum changes vary by the university but include an emphasis on special education and instruction in building school culture—two issues closely related to the top challenges identified by <em>Education Week</em>. RAND Corporation recently released its first of three reports on the initiative, <a href="/knowledge-center/pages/launching-redesign-university-principal-preparation-programs.aspx"><em>Launching a Redesign of University Principal Preparation Programs</em></a>, which looks at the initiative’s implementation and suggests that this type of redesign process is doable. </p><p>University programs are just one piece of the pipeline to help principals lead effectively. Since 2011, our <a href="/knowledge-center/Documents/Building-a-Stronger-Principalship-Vol-5-The-Principal-Pipeline-Initiative-in-Action.pdf">Principal Pipeline Initiative</a> has been testing whether district-managed principal pipelines can produce large corps of principals who can improve teaching, learning and student achievement in schools. We’ve been working with six large, urban school districts across the country to help them develop strong principal pipelines by improving principal training, hiring and on-the-job support and evaluation. Independent studies have found that building principal pipelines is feasible and affordable, and forthcoming reports will offer more about the impact on student achievement and school improvement.</p><p>We’ve also been working to improve the support principals receive while on the job through our Principal Supervisor Initiative. As part of this work, six districts are shifting the principal supervisor role from a focus on operation and compliance to a focus on developing principals to be effective instructional leaders. Thus far, the districts have reported that <a name="_Hlk529184236">principals were able to develop more productive relationships with their supervisors and a </a> <a href="/knowledge-center/pages/a-new-role-emerges-for-principal-supervisors.aspx">study of their efforts</a> demonstrates the feasibility of making substantial changes to the principal supervisor role.</p><p>Clearly, principals have a tough job—and the role is changing rapidly to meet increasing the demands on school leaders. Better preparation and support can help school principals navigate the challenges they face every day and ensure that they are continuously honing their own skills too. &#160;</p> Education Week series on principals underscores the need for training that reflects the real-world demands of the jobGP0|#3fabc3e0-eead-49a5-9e92-99d8217d8607;L0|#03fabc3e0-eead-49a5-9e92-99d8217d8607|principals;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#f6bf3d1c-be97-4812-97dd-5af2fc90c854;L0|#0f6bf3d1c-be97-4812-97dd-5af2fc90c854|leaders;GP0|#a241d971-021a-4561-b03e-064aeb54fb7b;L0|#0a241d971-021a-4561-b03e-064aeb54fb7b|mentoring;GP0|#e750a1ad-0b52-4af3-95da-3850bb194e85;L0|#0e750a1ad-0b52-4af3-95da-3850bb194e85|professional developmentGP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61Wallace editorial team79<img alt="" src="/News-and-Media/Blog/PublishingImages/blog-ed-week-lg-feature2.jpg" style="BORDER&#58;0px solid;" />2018-11-13T05:00:00ZEducation Week series on principals underscores the need for training that reflects the real-world demands of the job11/13/2018 2:59:23 PMThe Wallace Foundation / News and Media / Wallace Blog / “Principals Under Pressure”: Preparation and Support Can Make a Tough Job Easier A new Education Week series shows just how 101https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Encouraging Frequent Attendance for the Arts13010 <p>If you could attract neophyte audience members and get them to return by buying them a glass of wine, wouldn’t you do it? And if it was even easier to get them to the next step, becoming regulars—say, all it took was greeting them by name—wouldn’t you do that?</p><p>At the third gate in the decision-making journey potential audience members navigate, they are looking to have compelling, rewarding experiences, while arts organizations are hoping to not only meet those expectations but also exceed them. For it’s a truth readily acknowledged that getting new audience members through the door once is easier—but also more costly—than getting them to return. With attendees who have come at least once before, arts organizations are not starting their overtures on the first note.</p><p><a href="http&#58;//2017study.culturetrack.com/home" target="_blank">Recent research</a> shows that, aside from seeking emotional, mental, and social engagement with the arts, potential attendees—especially members of the millennial generation—are increasingly seeking a “total experience.” They want to have fun and connect with others just as much as they want to be enlightened or entertained by the art they are seeing.</p><p>That’s why the <a href="/knowledge-center/pages/denver-center-for-the-performing-arts-is-cracking-the-millennial-code.aspx" target="_blank">Denver Center Theatre Company</a> staged a large-scale immersive production called “Sweet &amp; Lucky” at an offshoot called Off-Center. These interactive performances, designed to engage a generation that is used to immersive, participatory experiences, sold out to attendees with an average age of 41 (vs. 53 for traditional productions). In post-performance surveys, 94 percent of that group rated the play “very rewarding” or “extremely rewarding.” Another key component of the evenings was a purpose-built bar where audience members could socialize before and after the show—meeting another demand of a generation that likes to network.</p><p>The <a href="https&#58;//www.opera-stl.org/" target="_blank">Opera Theatre of St. Louis</a>, another participant in <a href="/pages/default.aspx" target="_blank">The Wallace Foundation’s</a> six-year, $61.5 million “Building Audiences for Sustainability” initiative, didn’t modify its opera offerings, but it too discovered that the opportunity to socialize was crucial to a better return on its outreach initiatives. In 2016, OTSL invited newcomers to attend a pre-performance wine reception, then measured its success. It discovered that 21 percent of the new-to-file audience members who attended the wine welcome returned in 2017 vs. only 17 percent of those who had not attended the wine reception. Joe Gfaller, Director of Marketing and Public Relations, said that OTSL will continue the wine receptions&#58; “It’s a very low-cost, worthy investment.”</p><p>Further on the continuum of reducing audience churn, the <a href="/knowledge-center/pages/can-the-citys-boom-mean-new-audiences-for-seattle-symphony.aspx" target="_blank">Seattle Symphony</a> has been successful, with even less expense, at keeping new subscribers. The orchestra simply assigned staff members to greet them by name (learned as their tickets were scanned) when they arrived at Benaroya Hall and to say that the Symphony was happy that they’d come for the performance. “What we found,” said Charlie Wade, Senior Vice President for Marketing and Business Operations, “is that, in fact, the people that we greet renew at a significantly higher rate than people that we don’t greet.” In the 2016-17 season, that tally was 41 percent versus 29 percent.</p><p>During the 2017-18 season, the Symphony greeted more than 900 subscribers, nearly double the first year’s number, and the rate of renewal among them remained significantly higher, too. “It earned us on the order of $60,000 more” in subscription sales, Wade said.</p><p>These initiatives are elements of what has become known as the “surprise and delight” approach to enhancing the total customer experience&#58; it involves giving attendees an unexpected reward that cultivates a bond with them and therefore fosters loyalty. These gestures often turn people into frequent attendees.</p><p>Taking this idea a step further, the Seattle Symphony has for the last two years provided customer experience training to all employees who interact with the public, from parking attendants to food and beverage servers to box office staff. They learn to greet all guests with a smile, eye contact, and a welcome (though they do not have access to names); to listen, care about, and anticipate rather than react to customer desires; and to end each interaction effectively, perhaps inviting audience members to return. As a result, Wade says that customer satisfaction, measured in surveys, has climbed in each of the last three years, undoubtedly helping with customer retention.</p><p>Younger audiences in particular say in surveys that it’s not quite enough for an arts experience to be engaging; they are looking to go to places where they feel an emotional tie, have positive interactions, and experience a sense of community. Efforts like these examples may well help turn first-timers into multi-timers.</p><p><em>This three-post series outlines the Audience Journey, a conceptualization of people's decision-making process when choosing to attend an arts performance, exhibition or event. This post focuses on how to create a rewarding experience that makes people want to return. Other posts suggest ways organizations might <a href="/News-and-Media/Blog/pages/countering-myths-and-misperceptions-of-the-arts.aspx">engage people who are less inclined</a> to participate in the arts and how to combat <a href="/News-and-Media/Blog/pages/breaking-the-practical-barriers-of-arts-participation.aspx">the practical barriers</a> of participation. All posts originally appeared on the National Arts Marketing Project's&#160;<a href="https&#58;//namp.americansforthearts.org/2018/10/16/the-arts-experience-and-reducing-audience-churn">blog</a> and are reprinted here with permission. </em></p><p>&#160;</p> Third in three-post series examines how to create a rewarding arts experience that makes people want to returnGP0|#459b8438-9b87-47d0-814e-02452652da81;L0|#0459b8438-9b87-47d0-814e-02452652da81|arts;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#a0d4f287-6ff9-448d-8c80-654a5fcb15c1;L0|#0a0d4f287-6ff9-448d-8c80-654a5fcb15c1|market research;GP0|#8285f1ba-f9e6-4e3d-9bc3-f280d24fce3c;L0|#08285f1ba-f9e6-4e3d-9bc3-f280d24fce3c|audience journeyGP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61Judith H. Dobrzynski89<img alt="" src="/News-and-Media/Blog/PublishingImages/MAP-Infographic-Audience-Journey-Wal-Blog3-lg-feature.jpg" style="BORDER&#58;0px solid;" />2018-11-09T05:00:00ZThird in three-post series examines how to create a rewarding arts experience that makes people want to return11/9/2018 3:31:39 PMThe Wallace Foundation / News and Media / Wallace Blog / Encouraging Frequent Attendance for the Arts Third in three-post series examines how to create a rewarding arts experience 96https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Taking Down the Practical Barriers of Arts Participation12344 <p>Try taking a youngster to a museum. It’s not easy. Where will you put the stroller? What about the crackers and the Cheerios? It’s even harder to manage a visit to an opera or a dance performance.</p><p>Such practical thoughts, and others like them, run through the minds of people (be they parents, friends, couples, or individuals) who are interested in participating in the arts—but haven’t yet committed. Their decision making isn’t over because they haven’t worked out when, where, and how they might participate. The barriers they face at this stage are largely practical ones, not perceptual ones, where they are unsure about what to expect. People ask questions like&#58; Does this specific arts opportunity fit in my schedule? Can I afford the tickets? Is it worth my time and effort to participate (opportunity cost)? Where is the show, and can I get there easily? Where will I park my car? Whom will I go with? Do I have all the information I need to make a decision?</p><p>In other words, they ask, does it work for me?</p><p>Several arts organizations participating in <a href="/pages/default.aspx" target="_blank">Wallace Foundation</a> initiatives have taken measures to make attendance work for a larger number of people, then tracked the results. In San Francisco, when the <a href="/knowledge-center/pages/converting-family-into-fans.aspx" target="_blank">Contemporary Jewish Museum</a> targeted families as a desired audience, it first tried offering discounts. But they didn’t come; something else was needed. So, aside from offering a panoply of family activities, like art packs, the museum has marked off a space in its lobby to park strollers, installed changing tables in every restroom, and added low sinks that children can reach on their own. The museum also created family seating nooks in many exhibitions, including places where children may safely draw or read. As families enter the museum, they are told about areas where children may snack and where they may engage in touchable activities. “We try to be clear about what we can allow in a really friendly way,” said Fraidy Aber, Director of Education and Public Programs.</p><p>As a result, family visits since 2008 have jumped nearly tenfold, to some 13,000 families visiting a year—or 15 percent of total attendance versus 10 percent at the start.</p><p>Several years ago, the <a href="https&#58;//www.opera-stl.org/" target="_blank">Opera Theatre of St. Louis</a> began to hear very clearly that childcare was a practical barrier for many there, too. Now, at select matinees, OTSL offers a half-day “Kids Camp” for $20 per child. “Kids learn all about the performance you are seeing. They hear live music. They learn the story. They make their own little costume and set elements,” said Timothy O’Leary, who was the OTSL’s General Director until July 1 of this year. “And then, when you get your kid at the end of Opera Kids’ Club and you’ve been to the opera, you’ve got a little sheet about what they learned, and you ask them questions on the drive home. This is an incredibly great experience that people responded to really well.” It also exposes a very young generation to the arts, with potential reward in the future.</p><p>Other arts institutions have made different modifications to pull down practical barriers. The <a href="/knowledge-center/pages/can-the-citys-boom-mean-new-audiences-for-seattle-symphony.aspx" target="_blank">Seattle Symphony Orchestra</a>, for example, realized that its two- to three-hour concerts starting at 8 p.m. were inconvenient for some would-be patrons, so it started a new series of one-hour concerts, called “Untuxed,” that begin at 7 p.m. They’ve been very successful, attracting many new attendees.</p><p>Cost may be the biggest practical barrier for some groups—especially millennials, who, <a href="/knowledge-center/pages/building-millennial-audiences-barriers-and-opportunities.aspx" target="_blank">surveys show</a>, typically overestimate ticket prices to arts events—though cost issues may also reflect deeper concerns about risking money on events they do not enjoy. Still, communicating actual ticket prices, and sometimes offering discounts, has helped pull in millennials.</p><p>Such practical matters can play a large part in the individual decision making of potential patrons; reducing these barriers can yield measurable results.</p><p><em>This three-post series outlines the Audience Journey, a conceptualization of people's decision-making process when choosing to attend an arts performance, exhibition or event. This post highlights ways to overcome some practical barriers to participating in the arts. Other posts suggest ways organizations might <a href="/News-and-Media/Blog/pages/countering-myths-and-misperceptions-of-the-arts.aspx">engage people who are less inclined</a> to attend or visit and how to create a <a href="http&#58;//www.wallacefoundation.org/News-and-Media/Blog/Pages/Encouraging-Frequent-Attendance-for-the-Arts.aspx">rewarding experience </a>that makes people want to return. All posts originally appeared on the National Arts Marketing Project's&#160;<a href="https&#58;//namp.americansforthearts.org/2018/10/16/taking-down-practical-hurdles">blog</a> and are reprinted here with permission. </em></p><p>&#160;</p> Second in three-post series highlights audiences' concerns such as cost or venue and how organizations can address them.GP0|#459b8438-9b87-47d0-814e-02452652da81;L0|#0459b8438-9b87-47d0-814e-02452652da81|arts;GTSet|#e1be52fb-ad26-4379-9818-fd44f616dcf2;GP0|#4793cee9-d636-4969-af32-3d7a438636ef;L0|#04793cee9-d636-4969-af32-3d7a438636ef|the arts;GP0|#a0d4f287-6ff9-448d-8c80-654a5fcb15c1;L0|#0a0d4f287-6ff9-448d-8c80-654a5fcb15c1|market research;GP0|#8285f1ba-f9e6-4e3d-9bc3-f280d24fce3c;L0|#08285f1ba-f9e6-4e3d-9bc3-f280d24fce3c|audience journeyGP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61Judith H. Dobrzynski89<img alt="" src="/News-and-Media/Blog/PublishingImages/MAP-Infographic-Audience-Journey-Wal-Blog2-lg-feature.jpg" style="BORDER&#58;0px solid;" />2018-11-02T04:00:00ZSecond in three-post series highlights audiences' practical concerns like cost or venue and how organizations can address them11/9/2018 12:11:54 PMThe Wallace Foundation / News and Media / Wallace Blog / Taking Down the Practical Barriers of Arts Participation Second in three-post series highlights audiences' concerns such as 71https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx

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