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The Arts Getting Us Through a Pandemic11392GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>Arts organizations are often among the hardest hit in difficult times. <a href="https&#58;//www.washingtonpost.com/entertainment/museums/arts-groups-have-never-been-very-flush-with-cash-now-theyre-facing-an-even-bigger-battle-for-survival/2020/03/22/5c308dd8-6a1b-11ea-abef-020f086a3fab_story.html?mc_cid=e95e4e532e&amp;mc_eid=14d838a49e">Our current pandemic is no different</a>. Seasons have been canceled. Galleries and performance halls lie empty. Artists and crews find themselves without work. </p><p>Still, many nonprofit arts organizations are charging ahead with their missions. They are <a href="https&#58;//www.nytimes.com/2020/03/24/magazine/coronavirus-music-live-stream-concert.html">livestreaming performances</a>, customizing playlists, offering virtual tours of exhibitions and <a href="https&#58;//gothamist.com/arts-entertainment/met-opera-stream-operas-free-during-coronavirus-closure">waiving fees for online content</a>. Despite an unprecedented threat to their balance sheets, they continue to work to bring us the cultural salve we need to endure a trying time.</p><p>Many of us at Wallace have been turning to such institutions while we distance ourselves from our friends and families. Here, Wallace staffers give a shout-out to some of the nonprofit arts organizations that give us comfort, stimulation and entertainment when we need them most.</p><p><strong><span><span><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Aurelia-Grayson.jpg" alt="Aurelia-Grayson.jpg" class="wf-Image-Left" style="margin&#58;5px 0px;width&#58;122px;" /></span></span>WQXR</strong><br> I first heard <a href="https&#58;//www.wqxr.org/">WQXR-FM</a> as I was driving into New York City in 1982. I was moving to the city from Cleveland and a little nervous. WQXR happened to be playing a Mozart piano concerto I had performed as a teenager; a small source of comfort as I toed gingerly into a new chapter of my life. That concerto was back on playlist this week, along with works by Bach, Brahms, Dvorak and Vivaldi, and has been offering comfort in this new and uncertain period. When the headlines become overwhelming, the <a href="https&#58;//www.wqxr.org/story/must-see-concerts-covid-19-streaming-edition/">Must-see Concerts</a> curated on WQXR.org are my respite. Over the years, this public radio station has become a dear friend and, as many of us can agree, we appreciate our friends now more than ever. </p><p align="right"> Aurelia Grayson<br> Communications Officer</p><p><br> <strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Christine-Yoon-preferred.jpg" alt="Christine-Yoon-preferred.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;116px;height&#58;160px;" />Opera Philadelphia</strong><br> Opera Philadelphia is always one of my favorites. I’ve been turning to their large collection of performances and interviews on <a href="https&#58;//www.youtube.com/user/operaphila/videos">YouTube</a> when taking breaks from work and parenting. They have <a href="https&#58;//www.operaphila.org/backstage/opera-blog/2017/spotify/">Spotify playlists</a> related to past performances, put together by artists that produced them, that are keeping me company while I work. They’re also profiling other companies and artists on their <a href="https&#58;//www.facebook.com/OperaPhila/">Facebook</a>, <a href="https&#58;//twitter.com/OperaPhila">Twitter</a> and <a href="https&#58;//www.instagram.com/operaphila/">Instagram</a> pages, people and organizations that could really use some support as the world shuts down. It’s a nice reminder that in this period of isolation, we’re all still looking out for each other. </p><p align="right"> Christine Yoon<br> Senior Program Officer, Arts</p><p><br> <strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Holly-Dodge-2.jpg" alt="Holly-Dodge-2.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;114px;height&#58;139px;" />New York Choral Society</strong><br> I’m a choral singer, and the communal creation of music is an important part of my life. While I’m cut off from the social joys of music, the New York Choral Society, of which I am a member, is helping to keep me connected. It has been sending <a href="https&#58;//www.nychoral.org/contact/">email newsletters</a> every weekend in which conductor David Hayes shares <a href="https&#58;//soundcloud.com/user-910395746/thompson-the-road-less-traveled">relevant clips from past performances</a> and <a href="https&#58;//www.youtube.com/playlist?list=PLhV7SQXzKjizvQ3ZOwoFeQ4jXu5tcCorU">playlists tailored to our times</a>. It’s not quite the real thing, but these newsletters keep me in touch with the music I love and keep me looking forward to the day when we can gather and make music together again. </p><p align="right">Holly Dodge<br> Grants Administration Manager</p><p><br> <strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Lauren-Sanders-copy.jpg" alt="Lauren-Sanders-copy.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;116px;height&#58;136px;" />Film Forum, and other New York City arthouses</strong><br> I have a group of friends, mostly filmmakers and writers in New York, that often meets up to go to the movies. Since sheltering in place, we’ve created a Sunday night movie club where we stream a movie and then discuss it over Zoom, as we would over dinner or drinks. Among the sources we’re turning to are New York City’s remaining independent theaters, all of which are in desperate need of support right now. One of our favorites, <a href="https&#58;//filmforum.org/">Film Forum</a>, is running first-run films through <a href="https&#58;//deadline.com/2020/03/kino-marquee-virtual-arthouse-program-expands-to-150-cinemas-with-alamo-drafthouse-laemmle-in-streaming-cannes-winner-bacurau-1202893459/">Kino Marquee</a>. It’s turned a terrible situation into something of a cineaste’s dream. Half the fun at the end of an hours-long (sometimes contentious) Zoom chat is choosing the film for the following week. While it may lack the magic of being out there with all those wonderful faces in the dark, the ritual of film, conversation and a few beautifully pixelated faces is just what I need before the start of another work-from-home week.</p><p align="right">Lauren Sanders<br> Managing Editor</p><p><br> <strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/mark-jobson.jpg" alt="mark-jobson.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;118px;height&#58;152px;" />Pacific Northwest Ballet</strong><br> All this time at home sometimes makes me feel like I might just pop out through the ceiling of my living room. Fortunately, Pacific Northwest Ballet is bringing ballet into my heart and mind and quelling my desire to break free. There are plenty of photographs <u><a href="https&#58;//www.instagram.com/pacificnorthwestballet/">across</a></u> <u><a href="https&#58;//www.facebook.com/PNBallet/">social</a></u> <u><a href="https&#58;//twitter.com/PNBallet">media</a></u>, ballet <a href="https&#58;//www.instagram.com/p/B93BJ7GgjFz/">exercise</a> <a href="https&#58;//www.instagram.com/p/B-INb3egJhs/">videos</a>, and a <u><a href="https&#58;//www.youtube.com/watch?v=WZ1y9pSe7OM">short film on YouTube</a></u> documenting PNB’s staging of the popular Balanchine ballets, with some of the original dancers speaking about the choreographic experience. </p><p>I want to move these days, and we are in a new (hopefully transitory) moment of stasis. Watching these dancers turn and jump and fill the space with their movement allows me to breathe deeply and feel an expanse, both physically and mentally.&#160;All without popping out through anything! </p><p align="right"> Mark Jobson<br> Program Assistant, Arts</p><p><br> <strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Pam-Mendels-preferred.jpg" alt="Pam-Mendels-preferred.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;115px;height&#58;173px;" />Museum of Modern Art</strong><a name="_Hlk36048244"></a><br> Seeing the exhibition about photographer Dorothea Lange—<a href="https&#58;//www.moma.org/calendar/exhibitions/5079">Dorothea Lange&#58; Word &amp; Pictures</a>—at MOMA had been on my must-do list this spring. Well, MOMA is now closed, but the museum has an <a href="https&#58;//www.moma.org/audio/playlist/304/3915">online version of the exhibition</a>, complete with audio commentary on 14 of Lange’s photos as well as a pair of photos inspired by her. I’ve been poking into it, and it’s terrific. Many of the photos in the exhibition are from Lange’s work documenting the hardships of the Great Depression, the Dust Bowl and, during the early 1940s, the impending, unconstitutional internment of Japanese-Americans. They are moving images of human endurance in the face of crisis and suffering.</p><p align="right">Pam Mendels<br> Editor<br> </p><p><strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Rochelle-Herring-preferred-copy.jpg" alt="Rochelle-Herring-preferred-copy.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;110px;height&#58;166px;" />New Victory Theater</strong><br> I’m the mother of three creative children. We’re used to a lot of activity, such as art classes at the Montclair Art Museum, talks and performances at the New Jersey Performing Arts Center and acting classes at Luna Stage. <a href="https&#58;//newvictory.org/new-victory-arts-break-just-move-week/">The New Victory Theater’s Arts Breaks</a> have helped us keep that going, even though we can’t go out these days. They have a lesson or activity for every day that keeps my kids busy, keeps them moving and keeps them creating. It’s been fun! </p><p align="right">Rochelle Herring<br> Senior Program Officer, Education Leadership<br> </p><p><strong><img src="/News-and-Media/Blog/PublishingImages/Pages/The-Arts-Getting-Us-Through-a-Pandemic/Sarosh-Z-Syed1.jpg" alt="Sarosh-Z-Syed1.jpg" class="wf-Image-Left" style="margin&#58;5px;width&#58;113px;height&#58;144px;" />KEXP</strong><br> The <a href="file&#58;///ssyed/Arts/Stories/Art%20in%20the%20time%20of%20COVID-19/kexp.org/">KEXP live stream</a> has been an essential coworker since I sequestered myself. The DJs have peppered the regular playlist with equal parts encouragement (e.g., George Harrison’s “All Things Must Pass,”) commiseration (e.g., Portishead’s “Sour Times”) and humor (e.g., The Police's “Don’t Stand So Close to Me,”) all things we can use right now. Their periodic dance-party breaks, which are supposed to help cooped-up kids blow off some steam, are pretty good for adults as well. It’s a wholly appropriate time to dance; it just so happens that nobody’s watching. </p><p align="right">Sarosh Z. Syed <br> Writer</p>Wallace editorial team792020-03-31T04:00:00ZYour source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.3/31/2020 6:37:29 PMThe Wallace Foundation / News and Media / Wallace Blog / The Arts Getting Us Through a Pandemic Wallace staffers give thanks to arts nonprofits that are giving us comfort 172https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Experimentation and Refinement a Key to Audience Building in the Arts3968GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>Introducing a recent panel on how to build audiences in the arts, Monique Martin, director of programming at New York’s Harlem Stage stressed the human aspects of arts performances. “I want to acknowledge the importance of community and the desire for our audiences to be part of a community,” she said. “We are in polarizing times and the arts are a refuge for many.” </p><p>But how can organizations help ensure that people seek out that refuge and continue to take advantage of it?</p><p>For the last four years, The Wallace Foundation has been working with 25 performing arts organizations on the <a href="/knowledge-center/building-audiences-for-the-arts/pages/default.aspx">Building Audiences for Sustainability (BAS)</a> initiative to help stem declines in arts audiences. Using data, market research and other tools, BAS organizations take on a process of continuous learning to bring in new audiences, encourage repeat attendance, attract a particular demographic or address any other goal that serves their mission.</p><p>“Continuous learning begins with the premise&#58; we are unlikely to get it right the first time,” Bahia Ramos, Wallace’s director of arts, told the crowd gathered at the panel at The Association of Performing Arts Professionals (APAP) annual conference. Martin was moderating the panel, which also included Jenny Reik, director of marketing and communications at Cal Performances, Maure Aronson, executive director at Global Arts Live and Andrew Jorgensen, general director at Opera Theatre of Saint Louis (OTSL). All shared stories of risk taking and resilience on the road to building their audiences. &#160;</p><h3><strong>Opera, Food, Millennials…oh my!</strong></h3><p>Opera Theatre of Saint Louis had set out to <a href="/knowledge-center/pages/think-opera-is-not-for-you-opera-theatre-of-saint-louis-says-think-again.aspx">target millennials and Gen-Xers</a>, with a special emphasis on populations of color. The journey began with a period of research, after which the company launched a multifaceted campaign with the goal of expanding OTSL’s visibility throughout St. Louis. With expanded print advertising and digital billboards, the organization hoped that greater visibility would heighten awareness of OTSL and ultimately help sell tickets. Unfortunately, the campaign did not produce tangible results. </p><p>“The campaign taught us that we don’t have the resources necessary to blanket the entire St. Louis region with our brand message year-round,” Jorgensen explained. “More importantly, it underscored that visibility by itself, without meaningful context, is not enough to entice potential audiences to buy tickets and get them into the theater.” </p><p>In revisiting the company’s past experiences with hosting preperformance lawn picnics and other community events, Jorgensen noted that they learned the social component is a key part of the OTSL experience. So the organization implemented “Opera Tastings,” a series of concerts with a diverse group of singers performing a range of popular pieces from the history of opera at restaurants and other venues across the St. Louis region. Local chefs pair food and drink to the music, and tickets are $25. In the first year, nearly 50 percent of new attendees at Opera Tastings ended up buying a ticket to the company’s festival season.</p><p>Although they were successful, Jorgensen said, Opera Tastings were also expensive. “They did not produce enough revenue to support themselves without philanthropic backing,” he explained. When asked how the organization plans to move forward, he noted, “It’s a question we are struggling with. As passionate arts presenters, we have a desire to always be adding programming and reaching more people. Opera Tastings is only four years old, and it’s hard to imagine letting go of it.” </p><p>This spring OTSL will host a modified version of Opera Tastings with fewer events, larger audiences and a slightly higher price point, as they continue to learn how to better reflect the demographics of key audiences. For example, African Americans comprise the largest non-white group in St. Louis, so the organization will continue its commitment to present work that they’ve learned might appeal to African American audiences. “Representation matters” Jorgensen said. </p><h3><strong>A Music Festival Grows in Boston</strong></h3><p>Global Arts Live (formerly World Music/CRASHarts) learned a similar lesson about programming when it began its <a href="/knowledge-center/pages/world-music-crasharts-tests-new-format-new-name-to-draw-new-audiences.aspx">effort to expand audiences</a> with extensive market research. The research suggested that the organization's name was too hard to remember and its brand could be more clear and consistent. So the organization rebranded, revealing <a href="/News-and-Media/Blog/pages/new-name-new-look-to-draw-a-new-generation-of-fans.aspx">its new name, Global Arts Live</a>, in May 2019.</p><p>Research also suggested that the organization’s current audience was growing older. This led Aronson and his team to start programming events for a younger audience, specifically in the 21-40 age range. “We thought that changing our marketing and adding small, secondary events, such as meetups, classes and talks, would reengage the younger audience by creating a sense of community,” he said. “But we learned that experimenting with on-mission programming was far more effective.” </p><p>Global Arts Live started producing 10 to 15 targeted concerts per year in “millennial-friendly clubs,” which were incredibly successful. These target concerts attracted between 7,000 and 10,000 attendees, which was a big jump from the 500 attendees that the less-successful secondary events attracted. Aronson and his team also developed CRASHfest, a global festival offering a vibrant and social atmosphere. This idea stemmed from focus groups the company executed during its market research phase. The festival, targeted toward millennials, showcased different types of performances in the same place. “We found that expanding artistic programming worked in parallel with CRASHfest, not only as a reengagement tool, but also as an audience building tool,” Aronson said. “The two strategies worked together to create multiple points of frequency.”</p><p>The first CRASHfest event took place at the House of Blues in Boston in 2016. Fifteen-hundred people attended, meeting the organization’s goal and grossing $38,000. Sixty-one percent of the audience was new to the organization, and 56 percent of the new audience was under the age of 40. “It’s nice to see it being multigenerational--reaching new audiences but keeping our old audience happy as well,” Aronson said. “You’re still finding a fair amount of people over the age of 40 coming to these events, which is important because we’d be in trouble if we lost our old audience.” </p><p>One surprising finding, according to Aronson, was that millennials didn’t mind being in an intergenerational audience. The two other organizations on the panel agreed that they had also made presumptions about their target audience that proved untrue. </p><h3><strong>Students Take the Reins</strong></h3><p>Reik noted that through her team’s efforts at Cal Performances to reach a younger audience, they too learned that millennials had more things in common with their older audiences than they would have expected. “Many of us had preconceived ideas of what a millennial generation would need. Some of what we found was that younger audiences liked the same things that the older audiences did—they actually like our core programming,” Reik said. “The other really interesting thing is that the current audience actually liked the really edgy stuff.” </p><p>During the first year of the BAS initiative, Cal Performances tested multiple approaches to target the 18- to 22-year-old student demographic on the UC Berkeley campus. “One of our most illuminating failures came in that very first year, and it is important to start with because our successful programming evolved as a result of that,” Reik shared. </p><p>Cal Performances had implemented a program called Citizen Dance to give students access to the organization’s resources and stage. Staff saw this as an opportunity for the many student-led dance crews to create large-scale work in cooperation with emerging choreographers. But participation was much lower than expected. “We learned quickly that students wanted to be in charge of their own program delivery, and they saw Citizen Dance as competing for their time and attention. It wasn’t enhancing their own experience,” Reik explained.</p><p>The difficulties they experienced launching Citizen Dance led Cal Performances to significantly strengthen student ownership of events. The organization attracted a close-knit group of students who were involved in every decision regarding the genesis, production, artists, programming, marketing and more. The organization then launched Front Row, an event curated by the students themselves. “We taught students how to be presenters themselves—they received all of the credit,” Reik said. The results were quite different from Citizen Dance—more than 45,000 students attended Front Row, many for the first time. </p><p>While building this community of students, the staff at Cal Performances also learned that price matters greatly to this audience. As a result, the organization implemented Flex Pass, which offered students four tickets for $40 to Cal Performances’ main stage events. Reik said Flex Pass was a great success in its first two years. In year three of the programming, the organization increased the price of Flex Pass in an attempt to “move the needle upward” against the investment costs of making seats available at discounted prices. “We found that even a five dollar increase had a fairly significant impact on sales,” said Reik. </p><h3><strong>Risks and Rewards</strong></h3><p>The three leaders agreed that risk taking and experimenting with new strategies and tactics, such as those described, was vital to better connect with their audiences. While they may have tried different methods and experienced different challenges along the way, they agreed that all departments must be involved in the audience-building work from the beginning for it to succeed. “When different departments work together from the beginning—when the structure and whole concept is built from that foundation—you can move quicker to execution and success,” Reik explained. </p><p>“You have to be all in&#58; the staff, the board, to succeed or to fail in this project,” Aronson added. “We see the future as optimistic. The work is continuous; it’s incremental, and you have to have a vision in the organization to implement your learnings.”&#160; </p><p><em>Learn more about the arts organizations who were on the panel&#58;</em><br> <a href="https&#58;//calperformances.org/">Cal Performances</a> is a performing arts presenting, commissioning and producing organization based at the University of California, Berkeley. &#160;</p><p><a href="https&#58;//www.globalartslive.org/">Global Arts Live</a> brings international music, contemporary dance and jazz from around the world to stages across Greater Boston. </p><p><a href="https&#58;//www.opera-stl.org/">Opera Theatre of Saint Louis</a> is known for its short annual festival season in late May and June, and for its commitment to commissioning new operas and developing emerging talent. </p><p><a href="https&#58;//www.harlemstage.org/">Harlem Stage</a> provides opportunity and support for artists of color, makes performances easily accessible to all audiences and introduces children to the rich diversity and inspiration of the performing arts. </p><p>To learn more about Wallace’s building audiences work, visit our <a href="/knowledge-center/building-audiences-for-the-arts/pages/default.aspx">knowledge center</a>.</p>Jenna Doleh912020-02-11T05:00:00ZYour source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.2/13/2020 5:37:34 PMThe Wallace Foundation / News and Media / Wallace Blog / Experimentation and Refinement a Key to Audience Building in the Arts Arts leaders on panel say data, market research and 418https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
New Media Gets New Audiences into an Old Art Form20GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61 <p><em>This post is an update on a <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-extending-reach-with-technology.aspx">2015 case study</a> of Seattle Opera's Wallace-funded efforts to determine whether technology can help enhance the opera experience. It is one of a series of blog posts exploring how organizations' audience-development efforts fare once Wallace funds run out. It does not include a thorough analysis to determine whether the financial benefits of the efforts described are commensurate to their costs.</em></p><p>Seattle Opera, which produces five operas each year for an audience of more than 100,000, was early among arts organizations to use digital and social media to engage audiences. Its use of those tactics was given an early boost by a $750,000 Wallace Foundation Excellence Award, which provided funds for four years of experimentation between 2009 and 2012, as described in this <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-extending-reach-with-technology.aspx">2015 case study</a>. Those efforts were largely focused on deepening participation among those already attending, using technology to create opportunities to interact with the company and its productions. </p><p>The opera used audience research to guide development of a variety of tools and activities and evaluate each tactic post-launch, with annual surveys examining what was accessed, by whom and with what impact. This research led it to develop easily accessible audiovisual content that could help audiences better understand what goes into producing opera. The tools became more effective each year as the staff learned what did and did not work and adjusted its approach accordingly. Since then, the company has continued to develop and share digital content with the aim of helping audiences develop a deeper understanding of its work, and more recently, encouraging ticket sales. </p><h3>2009-2012&#58; Honing a Digital Approach with Wallace Funds</h3><p>In the summer of 2009, focus-group research suggested that operagoers were interested in seeing and hearing how works are prepared for the stage. The finding led the company to create and share “behind-the-scenes” videos highlighting aspects of production such as <a href="https&#58;//www.youtube.com/watch?v=ulLEwgZwKao&amp;list=PLWpqPsEHuRYZTRIjqI1bpNvdqNwdxl5sX&amp;index=3&amp;t=0s">set design</a> and <a href="https&#58;//www.youtube.com/playlist?list=PL869613FC0F3BC00B">hair and makeup</a>. Surveys and web analytics indicated that those videos were widely accessed and highly effective in enhancing operagoers’ experience, and they became a critical part of the engagement strategy each year. The segments had greater appeal than other tactics such as audio-only podcasts and a <a href="https&#58;//www.youtube.com/watch?v=yi2SA64rPEo">video series</a> that lacked a behind-the-scenes focus. Photo-rich blogs revealing different aspects of the opera production process were also accessed by and enhanced the experience for many viewers. </p><p>Certain tactics were deemed too expensive to continue when evaluation research revealed only modest impact. They included&#58;</p><ul><li>Interactive community-building forums such as contests and sharing tools that did not provide the additional understanding operagoers got from audiovisual content;<br> <br> </li><li>Livestreams of panel discussions and other engagement events, which were well received, but only by the small number of people that accessed them; and <br> <br> </li><li>An outdoor simulcast, the one technology-based tactic designed to bring in new audiences. Large numbers attended the simulcast, but it was prohibitively expensive and too challenging to convert the novices it drew into regular mainstage attendees. </li></ul><p>Seattle Opera’s marketing department spearheaded its digital transformation, but, from the outset, it brought in staffers from the production and artistic departments as full partners in planning and strategy discussions. It turned out to be a wise move; those staffers provided much of the content that gave audiences a peek behind the curtain, even appearing in videos that offered virtual backstage tours. Their active participation at all phases of content development eased initial concerns about the information marketers might share digitally and about revealing secrets that help create the onstage magic. </p><h3><strong>2012-Present&#58; Funding Ends but Content Use Expands and Adapts</strong></h3><p>Since that experimentation period, the company has focused its technology-based audience-engagement efforts on digital content, as opposed to less fruitful efforts such as livestreams, simulcasts and similar offerings. The company is now creating more of that content and using it to accomplish a broader range of objectives that also includes sales and community building. It also maintains its use of web analytics to monitor the popularity of its digital content.</p><p>The staff continues to develop material designed to deepen understanding of how opera is produced and, increasingly, to explore its relevance in the world today. Popular features have included videos of directors' and artists' perspectives on the reasons a particular opera remains important, which is not always apparent in a genre where most repertoire is well over 100 years old. Such features may include discussions of universal themes and elements of the human experience that transcend place and time, such as love, humanity and good and evil, and how these themes play out in characters' struggles on stage. Other popular material has included discussions of the work necessary to update old librettos for modern audiences, especially if they include stereotyped portrayals of non-white and non-Western people. </p><p>In addition, blog posts describe different aspects of opera to help explain it to people with varying levels of familiarity with the art form. The company has also continued to produce podcasts, which had limited success when Seattle Opera first experimented with them but have garnered greater listenership thanks to partnerships with a local classical-music radio station and podcast distributor SoundCloud. All this digital content is also shared on social media and on the Seattle Opera website, where it can be easily found by those already engaged with the company.</p><p>Seattle Opera has also elevated digital content’s role in driving sales, capitalizing on the ability of online platforms to reach a wider audience. At the 2009 start of the initiative, Seattle Opera's digital content was largely confined to its website. Social media platforms such as Facebook and Twitter were fairly new, used by 27 percent and 6 percent of the adult U.S. population respectively. But proliferation of social media since then has allowed the organization to more aggressively promote its content among new audiences. “Our website only reaches people who are already looking for information about us,&quot; says Director of Marketing and Communications Kristina Murti. &quot;But with social, we’re able to deliver the content to everyone who follows us, as well as to people we can target through advertising, … and then hopefully get them over to the website for more information.”</p><p>In order for such efforts to work, however, content first needs to break through the clutter of social media feeds. To stand out, Seattle Opera has started to use more professionally shot, color-rich videos, many featuring scenes in dress rehearsal, striking images of the set, or eye-catching features such as the costume shop. The amount of video produced varies across productions, with the company publishing approximately two to four videos in advance of opening night, followed by another four to six short performance clips featuring singers or segments that potential audiences may recognize. </p><p>But Facebook is more than the primary digital sales channel. Seattle Opera also uses the platform to foster community, with news about the company and opera in general, and posts referencing operas and musicians that transcend any one production or season. The approach has helped the organization increase its Facebook audience from approximately 40,000 likes in 2015 to 81,000 likes in early 2019, outpacing the 50 to 60 percent growth <a href="https&#58;//mrbenchmarks.com/numbers/social-media">experienced by other nonprofits</a> during that time. Seattle Opera is also investing in Instagram, largely because the platform is widely adopted by younger generations and its visual nature allows for inventive storytelling. The company is not putting as much effort into Twitter; digital consultants and other arts organizations suggested that its return on investment in driving sales is lower than Facebook and Instagram. Seattle Opera’s social media growth has tracked with that investment&#58; the number of its Twitter followers has plateaued, while Instagram and even Facebook—a mature and more saturated platform—continues to add followers.</p><p><em>Seattle Opera’s Social Media Following</em><br> <img src="/News-and-Media/Blog/PublishingImages/Pages/New-Media-Gets-New-Audiences-into-an-Old-Art-Form/Seattle-Opera-Digital-Media-Strategy.jpg" alt="Seattle-Opera-Digital-Media-Strategy.jpg" style="margin&#58;5px;" /><img src="file&#58;///C&#58;/Users/jmoreno/AppData/Roaming/Adobe/Dreamweaver%20CC%202019/en_US/OfficeImageTemp/clip_image002.png" width="593" height="343" border="0" alt="" /></p><h3><strong>Still Learning and Partnering</strong></h3><p>The opera remains focused on continuous learning, in large part to keep up with changes in how platforms such as Instagram and Facebook deliver content. “You never know how your content is going to land. Something that works today may not work six months from now,” Murti says. What’s more, people respond to different aspects of each opera, so every production has an unknown element. There’s no set formula.</p><p>Online analytics and guidance from social-media consultants have helped navigate these uncertain waters. From its web analytics, Seattle Opera can see that Facebook brought in approximately $700,000 of the company’s annual ticket revenue of $7.5 million in the 2019 fiscal year and another $300,000 in donations and other earnings. According to systems developed by its consultants, $80,000 of this revenue came from people who had watched a video at some point in the sales process. Such data obviate the need for some surveys, though the company did have to pay to develop the systems needed to collect them. Murti says the expense has been well worth it; the analytics allow the marketing team to look on a bi-weekly, post-by-post basis at the content that is and is not moving sales, and then reinvest in what appears to be working. </p><p>Having that data also allows Murti to inform artists, production and technical staff about how their collaboration on digital content drives ticket sales. Such feedback encourages their ongoing participation, a continuation of the cross-departmental partnership that Seattle Opera established early in the process and has made it easy to produce large volumes of material. With so many metrics and platforms to track and understand, the importance of this partnership might have been easy to overlook. But perhaps more than any tactic or technological advance, the collaboration has been essential to the company’s progress and could help it continue creating relevant content that moves and engages audiences. </p>Bob Harlow822020-02-04T05:00:00ZYour source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.2/4/2020 7:31:19 PMThe Wallace Foundation / News and Media / Wallace Blog / New Media Gets New Audiences into an Old Art Form Research, collaboration and web analytics help Seattle Opera make opera 646https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Ambassadors, Advice and Strategic Discounts Bring Newcomers to Minnesota Opera3672GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p> <em>This post is an update on <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-someone-who-speaks-their-language.aspx">a 2014 case study</a> of Minnesota Opera’s Wallace-funded efforts to attract new opera fans and supporters. It is one of a series of blog posts exploring how organizations' audience-development efforts fare once Wallace funds run out. It does not include a thorough analysis to determine whether the financial benefits of the efforts described are commensurate to their costs.</em></p><p>Those unfamiliar with opera often assume the art form is for a different kind of person; they may think of someone older, wealthier, with different sensibilities and maybe even a bit pretentious. For the marketing staff at Minnesota Opera, the key to bringing newcomers to the performance hall requires, first and foremost, challenging that assumption. One tack has been to enable trusted opera devotees to act as ambassadors and encourage others to give the art form a try. Assisted by a four-year (2009 to 2012), $750,000 Excellence Award from The Wallace Foundation, the organization successfully enlisted an influencer with a wide following who attracted new ticket buyers. When a medical condition forced that influencer to retire, the staff empowered other groups in its audience base to cultivate new attendees.&#160; </p><h3 class="wf-Element-H3">Tapping Local Partners</h3><p> The company, which produces five operas per year for an audience of nearly 45,000, first experimented with this idea in its 2008–2009 season, with a Bring-a-Friend program. Through that effort, its roughly 3,000 subscribers could receive a free companion ticket to a performance, which they were asked to give to a friend who had never attended Minnesota Opera. Staffers were discouraged when fewer than a fifth of subscribers took advantage of the offer but took heart when half the invited friends later bought tickets themselves. That high return rate got the marketing staff thinking about how to expand the model by tapping into a trusted advocate with greater reach. </p><p>As detailed in a <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-someone-who-speaks-their-language.aspx">2014 case study</a>, the company launched a partnership with Ian Punnett, a longtime opera attendee and host of a morning drive-time pop-culture radio show. In show banter and in ads, he told his audience, which was made up mostly of professional women, what they would find enjoyable about specific Minnesota Opera productions. Avoiding esoteric references, he emphasized the drama, spectacle, pageantry and passion on stage. Over the four years of Wallace Foundation funding, more than 1,000 new households redeemed free tickets received in promotions on Punnett's show, in line with the company’s projections. What’s more, 18 percent of these newcomers returned on a paid ticket, well exceeding the 10-percent return rate documented in <a href="https&#58;//www.oliverwyman.com/content/dam/oliver-wyman/global/en/files/community/Pro%20Bono%20Program/Solving%20a%20Classical%20Mystery/OW_EN_PUBL_2008_AUDIENCEGROWTHINITIATIVE%281%29.pdf">a 2008 study of first-time visitors at nine American symphonies</a>.</p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/Traviata2.jpeg.jpg" alt="Traviata2.jpeg.jpg" style="margin&#58;5px;" /> <br> </p><p>The radio partnership was just one component of the strategy. A local afternoon TV talk show also distributed free tickets to all members of its 50-person studio audience. But the show’s hosts lacked Punnett’s connection to opera and couldn’t speak as compellingly about it. Further, audience members received tickets whether they were interested or not. Few redeemed tickets and the partnership was scrapped in its second year. </p><p>The company also conducted research into audience motivations for buying tickets and, importantly, what prevented first timers who had come through the radio promotion from returning a second time. The research revealed that, although those newcomers may have enjoyed attending the performance, when they were considering a return visit, they didn’t have Punnett to steer them toward another opera. Marketing brochures were designed for traditional audiences, lacked Punnett’s accessible style and had references that newcomers did not fully understand. What’s more, the decision to return not only involved choosing an opera, but also selecting a seat in an unfamiliar hall. Consumer psychologists have long noted that <a href="https&#58;//insight.kellogg.northwestern.edu/article/what-predicts-consumer-choice-overload">too many options can overwhelm unfamiliar consumers</a>, causing them to avoid choosing anything at all. Minnesota Opera’s research suggested that this tendency may be at play among its prospects. They needed help and sometimes a push to identify when and how to return.</p><p>These insights gave rise to multiple marketing strategies to overcome that purchase inertia. One tack was to simplify the decision-making process by creating offers for tickets in a specific seating section, eliminating the need to select where to sit. These promotions typically offered configurations such as “Three tickets for $75,” and produced about 100 new subscribers when they ran in local newspapers. Another approach was an impulse-buy promotion offered at two or three performances each season. First-time subscribers received a discount on a new subscription if they signed up before leaving the performance hall. Approximately 100 new subscribers did so each evening the offer was made available.</p><h3 class="wf-Element-H3">Turning to Existing Ambassadors</h3><p> Severe tinnitus forced Punnett to retire from radio in early 2013, bringing Minnesota Opera's partnership with him to an unexpected end. The company sought a similar partner who shares a love of opera, a large audience and a relatable personality—critical factors that drove the program's success—but was unable to find one. The staff therefore tried to deputize different groups within its audience base. “When a friend recommends going to the opera, it’s very different than being served a marketing message,&quot; says Marketing Director Katherine Castille.</p><p>The company still runs its Bring-A-Friend program but has had to pare it back as its popularity has grown. Minnesota Opera has approximately 3,000 subscribers, and an open offer to all of them meant that the company could potentially hand out more than 500 tickets per production. It therefore offers Bring-a-Friend tickets for just one production each year to the approximately 200 subscribers who automatically renew their subscriptions before the next season’s titles are revealed. The approach provides an incentive to auto-renew while also attracting a small number of newcomers to the performance hall. </p><p>Bring-a-Friend<em> Redemptions and Returning Households<br></em></p><p> <em><img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/bring-a-friend-chart.jpg" alt="bring-a-friend-chart.jpg" style="margin&#58;5px;" /></em><br> </p><p>Beginning in the 2016–2017 season, Minnesota Opera also began offering complimentary 'loyalty tickets' to some subscribers, not just to show appreciation but also to help introduce their friends to the company. The group that receives the offer varies. That way, no one gets used to relying on free tickets and the marketing team can target larger or smaller groups depending on the number of seats available. For one show, free tickets might be offered to weekend subscribers; for another, they could go to new subscribers or those who have subscribed for more than ten years. Unlike Bring-A-Friend, these tickets do not need to be given to someone new to the company, but many are. Some preliminary results (below) show that the program is providing a very low-cost way to bring in new audiences; 183 (25 percent) of the 720 new households that came through the program purchased tickets themselves afterwards. </p><p> <em>Loyalty Ticket Redemptions and Returning Households<br></em></p><p> <em><img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/loyalty-ticket-chart.jpg" alt="loyalty-ticket-chart.jpg" style="margin&#58;5px;" /></em><br> </p><p>The staff is aware of the arguments against offering free tickets&#58; They can deflate perceptions of the operas’ value and, if used too liberally, teach people to expect them. For that reason, it distributes loyalty tickets in a highly targeted way. For starters, the company offers at most one free ticket to each patron each year and, to capitalize on patrons’ social connections, asks the recipient to invite a friend. The company typically makes these tickets available only in circumstances where sales are likely to need a lift—e.g., less popular showtimes, hard-to-fill seats, less familiar titles and shows early in the season that don't have much time for advance sales. </p><h3 class="wf-Element-H3">Offers and Messages to Encourage Ticket Purchases</h3><p> Relying on insights from its research with first-time attendees, the company still offers impulse-buy subscriptions following certain performances. It provides a discount of between 30 and 50 percent to single-ticket buyers who opt for these offers. The company targets well-known titles and performances outside of the subscription series, because those evenings are likely to have the most non-subscribers in attendance. Over three nights at the end of a run of <em>La Traviata</em> in May 2019<em>, </em>the company sold 160 new subscriptions, together worth approximately $25,000. The year prior, it ran the offer at two performances of <em>Rigoletto, </em>bringing in approximately $14,000 through 90 new subscribers. </p><p> <img src="/News-and-Media/Blog/PublishingImages/Pages/Ambassadors-Advice-and-Strategic-Discounts-Bring-Newcomers-to-Minnesota-Opera/Traviata.jpg.jpg" alt="Traviata.jpg.jpg" style="margin&#58;5px;" /> <br> </p><p>The company also tries to point newcomers in the direction of operas they might like, much as Punnett did on his radio show. The practice began when the staff heard in focus groups that people who had not returned to the opera missed Punnett’s guidance. Staffers initially responded by rewriting season brochures to signal which works were “perfect for an opera newbie” or “perfect for an opera buff.” But they nixed the strategy after one season; staffers became concerned that the phrasing might sound as if they were suggesting “opera smart” or “opera dumb.” </p><p>The need to help newcomers pick an opera was still there, however. “We have to find new ways to help people relate,” says Castille. “The seemingly natural reaction seems to be, ‘It’s not for me,’ and we need to make it more approachable.” </p><p>Now, communications targeting single-ticket buyers, who are more likely to be newer to opera, provide guidance on who should see what opera by including references to similar works and pop-culture. For a recent production of <em>Marriage of Figaro, </em>for example, audiences were told that it would be perfect for people who like <em>Downton Abbey, Amadeus </em>and <em>Cosí Fan Tutte. </em></p><p>In all communications Minnesota Opera also targets misperceptions about opera more directly. The company always promotes the fact that tickets start at $25, as it has done for the past ten years, because people assume opera is expensive. It also shows simultaneous English translation during performances, and has consistently communicated that point in print, TV and radio advertising for more than a decade. Even so, misconceptions have proven to be resistant to change (that’s true for other art forms as well). The company recently completed focus-group research and, Castille says, “Those perceptions are still out there—that opera is super expensive, it’s stuffy, it’s exclusively for much older people, I have to know a different language. The work is never done.&quot;</p><p><em>La Traviata, 2019. Photos by Dan Norman courtesy of Minnesota Opera.</em></p> <strong></strong><p></p>Bob Harlow822020-01-21T05:00:00ZA midwestern company taps its networks and carefully crafts promotions to introduce new audiences to opera.1/29/2020 2:35:54 PMThe Wallace Foundation / News and Media / Wallace Blog / Ambassadors, Advice and Strategic Discounts Bring Newcomers to Minnesota Opera A midwestern company taps its networks and 453https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
The Contemporary Jewish Museum Is Now (Also) a Family Destination15701GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p><em>​​​This post is an update of a </em><em><a href="/knowledge-center/pages/converting-family-into-fans.aspx">2016 case study</a></em><em> of The Contemporary Jewish Museum’s Wallace-funded efforts to attract larger numbers of families with young children. It is one of a series of bl​​og posts exploring how organizations' audience-development efforts fare once Wallace funds run out. It does not include a thorough analysis to determine whether the financial benefits of the efforts described are commensurate to their costs.</em></p><p>San Francisco’s Contemporary Jewish Museum (The CJM) presents a continuously changing program of exhibitions about Jewish art and culture to a diverse audience, approximately half of which does not identify as Jewish. In 2008, it moved from a 2,500-square-foot, single-gallery exhibition space to a 63,000-square-foot facility with room for multiple exhibitions shown simultaneously. Leaders of The CJM believed the expansion opened up a promising opportunity&#58; to attract more parents visiting with children, who could fill the space with intergenerational conversations and vitality. To that end, the museum set out to engage this audience in large numbers. </p><p>That aspiration brought The CJM into largely unfamiliar territory. The museum had not previously targeted families, who made up about 10 percent of the museum’s 10,000 to 13,000 annual visitors in the two years preceding the move. What’s more, more than half of family visits occurred on just two free days each year during Christmas and Purim. As described in <a href="/knowledge-center/pages/converting-family-into-fans.aspx">a 2016 case study</a>, a four-year Wallace Excellence Award helped change this picture. Between 2008 and 2011, the museum developed programs and partnerships that bring in more than 12,000, sometimes as many as 20,000, family visitors each year. </p><p>Eight years after that grant ended, the museum continues to draw large numbers of families. While The CJM no longer sees the runaway success of the early years, visitor response has been enthusiastic enough to build a stable base of family patrons, even as kids age out of the target audience each year.</p><h3 class="wf-Element-H3">The CJM Builds a Family Audience </h3><p> The original family initiative included several elements&#58;<u></u></p><ul><li>Exhibitions of work by well-known Jewish authors and illustrators, such as Maurice Sendak (<em>Where the Wild Things Are</em>), and Margret and H.A. Rey (<em>Curious George</em>), designed to appeal both to adults and children;<br><br></li><li>Year-round programs every Sunday, including (1) “Drop-In Artmaking” for parents and children every Sunday and (2) special family programming on the second Sunday of each month during the school year, consisting of a “Preschool Gallery Hour” in the mornings for preschoolers and their families and tours later in the day for families with older children; <br><br></li><li>“ArtPacks,” kits with activities connected to exhibitions on display and available to check out anytime, to help families explore on their own schedules;<br><br></li><li>Free admission to all visitors under age 18;<br><br></li><li>Several family days with special activities;<br><br></li><li>Partnerships with local libraries, including educator-led art-making in public libraries and a “Library Day” where library-card holders were allowed free admission; and <br><br></li><li>Partnerships with a small but diverse group of public schools, which included both classroom instruction and parent/child art-making, with 300 to 400 children and families taking part each year. </li></ul><h3 class="wf-Element-H3">Marquee Exhibitions Bring in Large Audiences </h3><p> With the opening of the new building, total attendance grew more than tenfold, with considerable variation each year (largely driven by blockbuster exhibitions featuring work by household names such Maurice Sendak and the Reys). Family attendance increased as well, and at a faster clip. As shown in the table below, families visiting with children made up about 10 percent of the visitors in the years leading to the move. In the first years of the initiative, they made up between 13 and 19 percent of general admission visits. Additional programs outside general admission brought in between 1,000 and 3,000 more family visitors each year. </p><p>The exhibitions of well-known children’s book authors were the biggest draw. In the first six years in the new space, families made up a larger proportion of visitors (18 percent) when those exhibits were on view compared to times when they were not (8 percent). Family visitors also made up 15 percent of all attendees on Sundays throughout the year, with especially large numbers visiting on second Sundays. <br> <u> </u><u> </u></p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-attendance-wallace-funded-years.jpg" alt="CJM-attendance-wallace-funded-years.jpg" style="margin&#58;5px;" /><br></p><h3 class="wf-Element-H3">New Gateways into the Museum</h3><p> Wallace funding ended at the close of 2011, but according to Fraidy Aber, who is Constance Wolf director of education and civic engagement, the museum remains committed to continuous innovation to build on its success. “Families have changing habits and needs,” she says. So The CJM’s staff continuously experiments with more efficient and effective ways to attract new families and create experiences that bring them back. </p><p>One opportunity came in 2013, when The CJM built on the popularity of an exhibition of the work of author-illustrator Ezra Jack Keats by launching what would become an annual “Ezra Jack Keats Bookmaking Competition.” Children from public schools across the city design and write their own books in a competition juried by a panel of illustrators, curators, librarians and writers. The competition, now in its seventh year, is a less costly alternative to the museum’s previous school-outreach program, in which CJM educators traveled to area schools to lead artmaking sessions. &#160;Activities for the new program are now largely managed by the schools, which submit student-made books to the museum. More than 800 children from 19 public schools participate. The competition culminates with a showcase of the children's books, attended by more than 400 students and their families (visitor surveys show that 45 percent are first-timers). The museum has recently begun a separate program for Jewish schools, hoping to recreate the culminating showcase with the Jewish community. </p><p>The CJM has largely shifted away from presenting exhibitions of children’s book authors and illustrators to focus more on contemporary art, though it still schedules a show every fall with content designed to appeal to both children and adults (including, for example, a 2018 exhibition exploring the work of Rube Goldberg). </p><p>Even so, these exhibits do not bring in the large numbers of family visitors attracted by those earlier exhibitions of authors with household names, and the staff is using other programming to attract new family audiences. For example, in 2016 it broadened the audience for the second-Sunday programming beyond families with preschoolers. The museum invited older children and their accompanying adults to attend and added age-appropriate art-making, storytelling, and entertainment to the day’s programs. Visitor surveys in 2017 revealed that second Sundays had built an audience of repeat visitors; up to 95 percent of attendees on those days had visited previously. The strong repeat attendance signaled to the staff that it was satisfying those who came, and also had considerable potential to expand its audience. </p><p>With that potential in mind, The CJM introduced a bigger, more highly promoted event in 2018. The new “Sunday Family Artbash” offers five hours of art-making, story-telling, music, entertainment, tours and dance movement connected to the exhibitions. The museum boosted advertising and publicity for those days and offered free admission for up to two adults accompanied by a child. That larger scope has required a reduction in frequency—four times a year instead of eight—but early results suggest the strategy is delivering. Family attendance regularly reaches 400 visitors and beyond (compared to 100 to 200 for the original second-Sunday program), and surveys show that 40 percent are first-timers. </p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-photo.jpg" alt="CJM-photo.jpg" style="margin&#58;5px;" /><br><span style="color&#58;#666666;font-size&#58;16px;text-align&#58;center;">Multiple generations p</span><span style="color&#58;#666666;font-size&#58;16px;text-align&#58;center;">articipate in Drop-in Artmaking at The CJM's Family Artbash; photo by Andria Lo​</span><br></p><h3 class="wf-Element-H3">“Hands-On” Visits Create Positive Experiences<br></h3><p> In 2014, The CJM opened the Zim Zoom Family Room, an interactive, activity-filled space housing artist installations, artmaking facilities, a screening booth and more, accessible any time. Focus groups in 2016 showed that attendees enjoy visits more when they include hands-on activities involving parents with their children, so the museum continually refreshes the Zim Zoom Room with new installations and activities. A major section of the space is devoted to an interactive artist exhibit, which changes each year. Past installations included interactive digital projections, an infinity room of mirrors that changed as children added objects to it and a piano that added paint to a canvas whenever anyone pressed a key. Visitor research shows the typical family visits the galleries for half an hour, then goes to Zim Zoom to play for an hour and finishes with lunch in The CJM’s café. Aber believes the Zim Zoom Room and regular family Sundays are cementing The CJM’s reputation as a family-friendly art museum. Visitor data show the institution attracts a consistent family audience year-round, not just when certain exhibitions are on view. </p><p>The CJM’s research revealing the importance of hands-on activities has also reaffirmed the museum’s commitment to offering Drop-In Artmaking for families every Sunday in the education center. When that research also suggested that families appreciate having educators in the gallery near the art itself, The CJM introduced a mobile “Art PushCart” with activities suitable for galleries (i.e., without markers, glue or other wet materials used in Drop-In Artmaking). That immediacy allows educators to help families connect more directly with works on display. Artists featured in exhibitions have even donated in-progress pieces to the Art PushCart that children can explore in the galleries. Drop-In Artmaking still happens on the first and second Sundays of each month; the Art PushCart is offered in galleries on Sundays later in the month. </p><p>Space and material constraints limit Art PushCart activities, and families spend less time with that program than they do with Drop-in Artmaking. But staff observations suggest that the Art PushCart serves more people, because families don’t need to make a special trip to the education center. </p><p>The museum has settled into an annual family attendance of between 10,000 and 12,000 since the Wallace-funded learning period ended. Approaching its eleventh year targeting families, the staff is starting to see signs of a generational cycle of participation. “We’re now part of the lifetime of people’s connections,” says Aber. “We’re beginning to have museumgoers who came as young adults through our teen programs now attending with their own kids, continuing on that life journey.”<br></p><p><img src="/News-and-Media/Blog/PublishingImages/CJM-attendance-post-wallace-funded-years.jpg" alt="CJM-attendance-post-wallace-funded-years.jpg" style="margin&#58;5px;" /><br><br></p>Bob Harlow822020-01-07T05:00:00ZNew strategies and a new space have helped the museum welcome young visitors and sow the seeds for future growth1/7/2020 2:58:48 PMThe Wallace Foundation / News and Media / Wallace Blog / The Contemporary Jewish Museum Is Now (Also) a Family Destination New strategies and a new space have helped the museum 339https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Year’s Top Blog Posts Signal Interest in SEL, School Leadership326GP0|#330c9173-9d0f-423a-b58d-f88b8fb02708;L0|#0330c9173-9d0f-423a-b58d-f88b8fb02708|School Leadership;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61;GP0|#890cbc1f-f78a-45e7-9bf2-a5986c564667;L0|#0890cbc1f-f78a-45e7-9bf2-a5986c564667|Social and Emotional Learning;GP0|#d2020f9f-c87c-4828-b93b-572786ae94a8;L0|#0d2020f9f-c87c-4828-b93b-572786ae94a8|Arts Education;GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts<p>​​​​I​f we can glean any trends from our list of most popular posts published on the Wallace Blog this year, it might be&#58; Everything is connected. From arts education programs focused on urban tweens to performing arts organizations with varied audiences, the question seems to be how to get people in the door. Then once there, how to keep them…just as school districts are struggling to retain principals and might find support in RAND’s groundbreaking principal pipeline research. And speaking of school leaders, their growing concern for children’s social and emotional learning (SEL) is more evident than ever.&#160;<br></p><p>We’ve got all that and more in our Top 10 list this year, so go ahead and get connected&#58;&#160;<br></p><p> 10)&#160;<strong><a href="/News-and-Media/Blog/pages/the-benefits-of-arts-education-for-urban-tweens.aspx">The Benefits of Arts Education for Urban Tweens</a></strong><strong>&#58;</strong> Does high-quality arts programming benefit urban tweens? What does it take to recruit young people to these programs—and keep them coming back? Read highlights from this webinar hosted by The National Guild for Community Arts Education and drawn from research and practice in our Youth Arts Initiative. <br><br> 9<span style="color&#58;#555555;font-size&#58;14px;">)</span><strong> </strong><a href="/News-and-Media/Blog/pages/principal-retention-findings-from-ppi-report.aspx"><strong>Systematic Approach to Developing School Leaders Pays Off for Principal Retention</strong></a><strong>&#58;</strong> Principal turnover disrupts schools, teachers and students, and the cost to replace a principal is about $75,000. This blog post investigates the principal retention finding of &#160;<a href="/knowledge-center/pages/principal-pipelines-a-feasible,-affordable,-and-effective-way-for-districts-to-improve-schools.aspx">RAND’s groundbreaking report</a> on building principal pipelines. <br><br> 8<span style="color&#58;#555555;font-size&#58;14px;">)</span><strong> </strong><a href="/News-and-Media/Blog/pages/what-if-districts-focused-not-just-on-preparing-and-hiring-principals-but-also-retaining-them.aspx"><strong>What If Districts Focused Not Just on Preparing and Hiring Principals But Also Retaining Them</strong></a><strong>&#58;</strong> For more on principal retention, Marina Cofield, then the senior executive director of the Office of Leadership at the New York Department of Education, discusses why the nation’s largest school system decided that school leader retention mattered—and what the district did about it.<br><br> 7<span style="color&#58;#555555;font-size&#58;14px;">)</span> <strong><a href="/News-and-Media/Blog/pages/could-federal-funding-help-pay-for-arts-ed-in-your-school.aspx">Could Federal Funding Help Pay for Arts Education in Your School?</a></strong> The authors of <a href="/knowledge-center/pages/review-of-evidence-arts-education-research-essa.aspx">a report exploring research on approaches to arts education</a> under the Every Student Succeeds Act discuss the types of activities and approaches that qualify for funding, the results arts-education interventions could yield and how educators might use their report to improve arts education in their schools.<br><br> 6<span style="color&#58;#555555;font-size&#58;14px;">)</span> <strong><a href="/News-and-Media/Blog/pages/five-organizations-five-different-strategies-to-build-arts-audiences.aspx">Five Organizations, Five Different Strategies to Build Arts Audiences</a></strong><strong>&#58;&#160; </strong>Organizations&#160;from our Building Audiences for Sustainability (BAS) initiative share early results from their efforts to tap new audiences while continuing to engage current attendees. As detailed in accounts from our BAS Stories Project, the work of the five varies&#160;widely;&#160;some strategies show&#160;success, some falter&#160;and many fall somewhere in between.<br><br> 5<span style="color&#58;#555555;font-size&#58;14px;">)</span><strong> </strong><a href="/News-and-Media/Blog/pages/implementation-gets-the-job-done-benefiting-kids-by-strengthening-practices.aspx"><strong>Implementation Gets the Job Done, Benefitting Kids by Strengthening Practices</strong></a><strong>&#58; </strong>Wallace’s recently retired director of research, Ed Pauly, shares insights from his decades-long career into why implementation studies matter, highlighting examples from recent Wallace work.<br><br> 4<span style="color&#58;#555555;font-size&#58;14px;">)</span> <strong><a href="/News-and-Media/Blog/pages/looking-toward-a-nation-at-hope.aspx">Looking Toward a Nation at Hope&#58;</a></strong><strong> </strong>Rooted in findings that academic learning and social and emotional learning are intertwined, <a href="http&#58;//nationathope.org/report-from-the-nation/">a report released earlier this year by The Aspen Institute</a> shares recommendations and next steps for supporting a more holistic learning approach.<br><br> 3<span style="color&#58;#555555;font-size&#58;14px;">)</span> <strong><a href="/News-and-Media/Blog/pages/choosing-the-right-social-and-emotional-learning-programs-and-practices.aspx">Choosing the Right Social and Emotional Learning Programs and Practices</a></strong><strong>&#58; </strong>More from the SEL front&#58; RAND researchers discuss the importance of social and emotional learning and their new guide meant to help educators adopt evidence-based programs that fit needs of students and communities.<br><br> 2<span style="color&#58;#555555;font-size&#58;14px;">)</span>&#160;<strong><a href="/News-and-Media/Blog/pages/what-leading-for-equity-can-look-like-paul-fleming.aspx">What Leading for Equity Can Look Like</a></strong><strong>&#58; </strong>Paul Fleming, assistant commissioner for the teachers and Leaders Division at the Tennessee Department of Education, discusses the importance of equity and how a publication on the subject by a statewide team seeks to help schools and districts in Tennessee better support all students.<br><br> 1<span style="color&#58;#555555;font-size&#58;14px;">)</span><strong>​ </strong><a href="/News-and-Media/Blog/pages/helping-principals-support-social-and-emotional-learning.aspx"><strong>Helping Principals Support Social and Emotional Learning</strong></a><strong>&#58; </strong>It’s no surprise that our top post of 2019 falls at the crossroads of school leadership and SEL&#58; Here, guest author Eric Cardwell, president of the National Association of Elementary School Principals, tells of his conversations with educators around the country and the guide for SEL implementation that came out of them. </p> <br>Wallace editorial team792019-12-04T05:00:00ZRead the most popular stories we published this year and the research that inspired them.12/4/2019 5:57:28 PMThe Wallace Foundation / News and Media / Wallace Blog / Year’s Top Blog Posts Signal Interest in SEL, School Leadership Read the most popular stories we published this year and 1444https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
Five Steps to Generate Discussion about Arts Audiences3556GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p> <em>​A few years ago, The Wallace Foundation began developing <a href="/News-and-Media/Blog/pages/five-organizations-five-different-strategies-to-build-arts-audiences.aspx">a series of stories</a> that provide insights from&#160;​the early work&#160;of five performing arts organizations who are part of our Building Audiences for Sustainability Initiative. Most of the stories are also accompanied by discussion guides </em> <em>created to help administrators, board members and arts practitioners in organizations of varying budget sizes and disciplines apply lessons from the stories to their own context. </em></p><p> <em>John-Morgan Bush, director of learning and leadership at League of American Orchestras, and the creator of the discussion guide for the Seattle Symphony BAS Story, outlines how organizations can use these guides to help identify challenges in audience-building.</em></p><p>In the performing arts, the path to audience building can seem more like a well-worn rut than an adventure down the yellow brick road.&#160; </p><p>While executives are often skilled at innovating and forming grand visions for their organizations, it can be challenging to convey that vision to everyone else who works in the organization, let alone encourage them to contribute to it. Too often when we convene our teams to tackle complex interdepartmental issues as vital as audience building, we may not always get the inspired ideas we hoped for. </p><p>A common problem is that when examining our own organizations, staff and leadership may be too close to tradition. Or some people may feel bound to existing operating procedures and inhibited about recommending ideas that may disrupt their normal way of working or invoke change. This could make it difficult to incorporate insights from staff who have deep experience in specific areas of the work of performing arts organizations—marketing, ticketing, operations and more. </p><p>What we need, perhaps, is a way to honestly address the challenges in our organizations without maligning anyone’s work or talent. Put more concretely, what if we could displace our critiques and suggestions onto another organization that’s dealing with similar questions, decisions, actions and may even be making the same mistakes? </p><p>Enter the <a href="/knowledge-center/pages/the-building-audiences-for-sustainability-stories-project.aspx">BAS stories and discussion guides</a>. The essential point of these (free!) resources is to offer a way of encouraging new ideas and vibrant discussions among staff that can then be used to address your organization’s specific needs around audience development. In my experience crafting the Seattle Symphony Discussion Guide, one of my main priorities was to create a workbook that could prompt individual reflection and empower staff to step out of their individual roles into that of a manager dealing with competing imperatives. This helps to elevate everyone’s point of view, to see the big picture and innovate solutions to the challenges outlined in the stories. </p><p>Here’s one way an organization might use the BAS Stories and guides to empower staff to invent solutions around their specific challenges. While the steps below can provide a solid foundation, I encourage you to adopt a process that you think will work best for your organization. </p><ol><li> Share <a href="/knowledge-center/pages/the-building-audiences-for-sustainability-stories-project.aspx">the link to the BAS stories and videos</a> with staff in advance of convening them. Encourage them to observe, absorb and take notes on the stories and challenges presented. You may wish to select one story with a particular resonance for your organization, or you may want to incorporate all five stories. All the stories—regardless of discipline—have lessons applicable to any organization. In fact, if may be easier for your staff to be objective if the organization you choose to focus on is not in the same discipline as yours. <br> <br> </li><li> Convene your team(s) and begin with inviting them to share their preliminary observations. It may also be helpful to let staff know this conversation is a safe space to share and exchange ideas. For larger teams, using an app like Slido could be a great way for individuals to anonymously share ideas or responses to prompts in a group setting. The important takeaway here is to make space so that everyone can be heard. <br> <br> </li><li> Using the prompts outlined in the BAS discussion guides, focus the conversation on specific components of the story to ask questions about how the issues addressed by the organization in the story are similar or different to your own organization. That’s when the reflection begins to shift toward your organization’s unique needs. <br> <br> </li><li> Then let go. Allow the conversation to ebb and flow. If it takes a turn in a new direction, follow it! When staff become excited or interested in an aspect of the story, let them take the lead and initiate conversation in that area. Those are the great moments when individual knowledge and personal experience with the work find synergy with analysis of the story and voilà! New ideas begin to emerge.<br><br> </li><li> Lastly, it’s important that the conversations continue even after formal discussion has ended and that the new ideas that emerge are revisited, prioritized and supported by leadership. Audience building is an adaptive and iterative process that requires flexibility and frequent assessment.&#160; <br><br> </li></ol><p>Far more engaging and much less costly than the all too common response of hiring a consultant, the BAS resources can help catalyze ideas, collaboration and learning in a way that champions the individual’s voice and expertise, while simultaneously disrupting the well-worn path of the status quo. I invite you to try them with your staff and learn together. You might not solve all your audience-building challenges at once, but you will certainly understand more about your staff’s collective capacity for innovation and experimentation. Who knows, you might even find yourselves on a yellow brick road. &#160;</p>John-Morgan Bush 1032019-10-01T04:00:00ZStory series and companion discussion guides offer examples of audience building as a learning tool for arts organizations.10/1/2019 3:22:13 PMThe Wallace Foundation / News and Media / Wallace Blog / Five Steps to Generate Discussion about Arts Audiences Story series and companion discussion guides offer examples of 1011https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
What Theater Can Do Best3559GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>Two years ago, we embarked on our Building Audiences for Sustainability (BAS) Stories Series, which has chronicled early accounts from the BAS initiative. <a href="/knowledge-center/pages/denver-center-for-the-performing-arts-is-cracking-the-millennial-code.aspx">One of the organizations featured</a> was Denver Center for the Performing Arts (DCPA), focusing on Off-Center—an experimental branch of DCPA’s Theatre Company. Off-Center is helmed and curated by Charlie Miller, who also serves as the&#160;Associate Artistic Director of&#160;Denver Center&#160;Theatre Company. </p><p> To see how the work has been progressing, Corinna Schulenburg, Director of Communications at Theatre Communications Group, sat down with Miller to discuss Off-Center’s work to date, what they’ve learned and recommendations for other organizations seeking to expand their work in audience building. <br> <br> This following is an excerpted and edited version of the exchange.</p><p> <strong>Schulenburg&#58; Can you provide a brief overview of the Denver Center and your work with the Building Audiences for Sustainability initiative?</strong> <br> <br> Miller&#58; The Denver Center for the Performing Arts is a nonprofit theater based in Denver, and it's a unique organization because it houses both the Broadway presenting house and the regional theater that we call the Theatre Company. Inside the Theatre Company, there's a line of programming that I lead called Off-Center, which was created in 2010 to be a theatrical testing center, a place where we could experiment with new ideas and new forms and new ways of engaging a new and younger audience. <br> <br> This really came out of the challenge we were facing a decade ago—subscriptions were declining and audiences were aging. There was more competition for entertainment dollars, so we had to find a new way to engage an audience who wasn’t necessarily predisposed to theater the way that their parents and grandparents were. We were determined to create a new kind of programming geared toward that audience and that’s where Off-Center came from. </p><p>Around the same time, I became really fascinated with immersive theater and the way that it put the audience at the center of the experience. I also felt like it was a great thing for Denver because people who come to Colorado enjoy experiences. They like being active, and immersive theater allows an audience to be active inside of a story. So we set out to build the DCPA’s capacity to produce large scale immersive work through Off-Center.</p><p class="wf-Element-ImageCaption"><br><img alt="miller-schulenburg.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/What-Theater-Can-Do-Best/miller-schulenburg.jpg" style="margin&#58;5px;" /> &#160;&#160;Corinna Schulenburg, director of communications, Theatre Communications Group and Charlie Miller, associate artistic director, Denver Center Theatre Company. </p><p><strong>Schulenburg&#58; Can you say a little bit more about the aesthetic and the audience experience of immersive theater?</strong> <br> <br> Miller&#58; For me what immersive means—and I also often use the word “experiential” interchangeably—is that it puts the audience at the center. They have some kind of role in the experience or in the story. It doesn't mean that the audience is playing a part like the actor, but instead that there is no fourth wall. It also needs to engage your senses and often involves not being seated the whole time, sometimes moving through multiple spaces, sometimes moving through the real world, but within a story that serves as a lens through which you’re viewing the world.<br> &#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160;&#160; <br> <strong>Schulenburg&#58; I know that an initial impulse was around engaging millennial audiences, particularly because you are a millennial yourself. Do you feel that millennial audience members&#160;have a particular relationship to this kind of work?</strong> <br> <br> Miller&#58; On average we’ve seen 35 percent of the audience is made up of millennials for these experiential productions, which is a departure from the Theatre Company, which is closer to 16 percent. We've also noticed that there is a halo effect, where you create programming that you think will speak to one generation and it becomes compelling to other generations. The common denominator is not your age, it’s how adventurous you are and what you’re looking for in your cultural experience. <br> <br> What’s exciting to us is that the work we’re doing is engaging a significantly newer and younger audience but it’s also engaging a diverse audience and people of all ages who are interested in engaging with their art in a different way. <br> <br> Also through the work we’ve been doing, I've continued to feel a tension in artistic programming between listening to what the audience wants and just doing interesting work that people will be excited about that they didn't know they want. There’s the famous Henry Ford quote that I love, something like, “If I listened to what people wanted I would have just given them a faster horse.” <br> <br> <strong>Schulenburg&#58; I remember in some of your past work you’ve uncovered that there’s a gap in what they think they want and what you actually found they wanted through market research.</strong> <br> <br> Miller&#58; &#160;As we were starting our Wallace-funded work we did a lot of market research, both qualitative and quantitative, to look at millennials in Denver and to understand if they would be interested in immersive theater. And when we asked them what type of experience, what attributes they wanted in an experience, they wanted “entertaining,” “lighthearted and fun,” “casual and relaxed.” They did not want “exclusive,” “serious” or “high end.” </p><p> <em>Sweet &amp; Lucky</em>, which was the first big project we produced, was serious and emotional and contemplative and people loved it, but it was the opposite of what they said they wanted. And it turns out that some of the subsequent work we've done that has been categorized as “entertaining, lighthearted and fun” has not been as popular among audiences. So even though they said they thought they knew what they wanted, it turns out they didn't. <br> <br> <strong>Schulenburg&#58; Since Wallace released the Building Audiences for Sustainability Story on your work, what has changed since then? What have you been up to?</strong> <br> <br> Miller&#58; The production that is running right now is called <em> <a href="https&#58;//www.denvercenter.org/tickets-events/between-us/">Between Us</a></em>, and it is a trio of one-on-one experiences between one actor and one audience member. This was inspired, in part, by an observation from <em>Sweet &amp; Lucky</em>&#58; during that production, every audience member received a brief one-on-one with an actor, and we saw how impactful that was for audience members. </p><p>Through all our projects this spring I've been fascinated with how much agency we can give the audience. How do we create a situation where the audience can show up as themselves, not have to play a part, but can have a meaningful and authentic impact on the direction and possibly even the outcome of the story? And how do we do that in a way that still guarantees that there's satisfying narrative arc? We're really experimenting with that in all of these pieces. We've had to rethink how we do things and learn along the way. <br> <br> <strong>Schulenburg&#58; Do you have any advice for smaller organizations looking to begin the work of audience building?</strong> <br> <br> Miller&#58; &#160;I think it's really important to get feedback from your audience. You don’t have to have a big budget to collect information and to use that to inform some of your decisions. It’s a skill set and a muscle that you can develop, and there are free tools out there to help. I believe that audience members have more buy-in with an organization if they feel like they’re able to share their opinion, so I’m a big proponent of continuous learning—as Wallace calls it—and using data to support strategy. <br> <br> Another thing we've learned is that experimental and nonlinear work has been least successful, as determined by audience response. We’ve heard that loud and clear on three different projects now. I always have to remind myself that at the core you have to provide a good story and that’s what brings people in. Theater is an art of storytelling.</p><p>Finally, I’m a huge proponent of prototyping and taking small, incremental steps to improve based on what you learn. The analogy I like to give is climbing up two feet and trying out your parachute and then climbing up another two feet, rather than just jumping off a cliff and hoping that the parachute opens. The more you can iterate, prototype and experiment, that can be really valuable. It’s a way to take calculated risks.</p><p> <strong>Schulenburg&#58; We’ve been talking a lot about the role human contact plays in the work you do at Off-Center, so I wanted to end by mentioning the New York Times article, &quot;</strong><strong><a href="https&#58;//www.nytimes.com/2019/03/23/sunday-review/human-contact-luxury-screens.html">Human Contact Is Now A Luxury Good</a></strong><strong>&quot; – have you seen it?</strong></p><p>Miller&#58; Oh yes, I did see this piece. <br> <br> <strong>Schulenburg&#58; The research suggests that it used to be that people who had resources and money had access to screens. Now, it's reversed—folks who are economically distressed have screens around them all the time and human contact has become a luxury good for the wealthy. What’s so interesting to me about the work that you are doing, it feels like it's connected to that, that you are hitting on the significance of direct human contact. It seems to me like you're tapping into a real wellspring of hunger.</strong> <br> <br> Miller&#58; I think you're right there. This relates to why I think millennials are drawn to immersive work. Our lives are mediated through screens, and theater like this forces you to put your screen down and to just be real, present and embodied. <br> <br> Spending an hour with a stranger and just getting to know them is a unique experience; you put yourself in someone else’s shoes and see the world from a different point of view. My hope is that this can wake us up from the monotony of our everyday routine and give us a new perspective on our own lives and on the world. That’s what we’re really trying to do at the end of the day. That’s what theater can do best. </p>Wallace editorial team792019-06-25T04:00:00ZChecking in with Denver Center’s Theater Company on what they’ve learned about their audiences from championing immersive theater6/27/2019 3:57:01 PMThe Wallace Foundation / News and Media / Wallace Blog / What Theater Can Do Best Checking in with Denver Center’s Theater Company on what they’ve learned about their audiences 1241https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
New Name, New Look to Draw a New Generation of Fans3997GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>In 2015, World Music/CRASHarts set out to build name recognition and draw new, younger audiences to its music and dance performances. It commissioned extensive audience research and developed a multipronged engagement strategy centered on an annual global-music festival called CRASHfest. <br></p><p>That strategy <a href="/knowledge-center/pages/world-music-crasharts-tests-new-format-new-name-to-draw-new-audiences.aspx">is showing promising results</a>. But the related market research suggested that the organization's name was too hard to remember and its brand could be clearer, more consistent and more inspirational. So the organization set out on a rebranding process, the results of which it revealed last month.</p><p> <a href="https&#58;//www.globalartslive.org/content/worldmusiccrasharts-is-now-globalartslive">World Music/CRASHarts is now Global Arts Live</a>. With the new name come a new logo, a new color palette, detailed design guidelines and new templates for posters, brochures, stage backdrops and other marketing materials. </p><p>The organization, along with branding and design firm Minelli, Inc., chose a name that describes its work more clearly and succinctly than the somewhat wordy &quot;World Music/CRASHarts.&quot;</p> <img class="wf-Image-Left" alt="global-arts-before-after.jpg" src="/News-and-Media/Blog/PublishingImages/Pages/New-Name-New-Look-to-Draw-a-New-Generation-of-Fans/global-arts-before-after.jpg" style="margin&#58;5px;" /> <p>To give the descriptive name some emotional resonance, Minelli proposed a dynamic tagline, &quot;Performance that shapes our world.&quot; It also offered alternatives so Global Arts Live could adapt the tagline to fit the wide variety of performances it offers. The organization's announcement of the change demonstrates the use of the tagline better than we can explain it here&#58;</p> <iframe width="560" height="315" src="https&#58;//www.youtube.com/embed/91i3so4sVEw" frameborder="0"></iframe> <br><p>&quot;We present many different artists from all over the world—performing dance, world music, jazz—in different venues across the city,&quot; said associate director Susan Weiler in an email. &quot;The tagline, messaging and other brand assets give us a road map to adjust the brand to each artist, discipline and venue.&quot;</p><p>Accompanying the name and tagline are visual and verbal cues to communicate the creativity, diversity and vibrancy of the performances the organization presents. These cues are designed to create a clear, more consistent identity that audiences and supporters can recognize wherever they encounter it.</p><p><img src="/News-and-Media/Blog/PublishingImages/Pages/New-Name-New-Look-to-Draw-a-New-Generation-of-Fans/global-arts-before-after3.jpg" alt="global-arts-before-after3.jpg" class="wf-Image-Left" style="margin&#58;5px;" /><br><br></p> <p>&quot;The new identity is full of energy and movement,&quot; Weiler said. &quot;We have a single clarified name, one contemporary logo, dynamic tag line, updated messaging and complete style guide—all things we didn’t have before.&quot;</p><p>The organization is now working with digital consultants to reclaim the search-engine rankings the name-change compromised and to analyze web users' behavior in preparation for a full site redesign. This fall, it will launch an advertising and awareness campaign to promote the new brand to new audiences. </p><p>It's an extensive undertaking that has so far cost Global Arts Live about $300,000. But the organization is confident it will help boost its public profile and solidify its reputation for high-quality performances. &quot;Creating a new brand requires deep resources in staff time, staff capacity and financial investment,&quot; Weiler said. &quot;But operating with an ineffective brand can ultimately cost an organization more.&quot;</p>Wallace editorial team792019-06-20T04:00:00ZYour source for research and ideas to expand high quality learning and enrichment opportunities. Supporting: School Leadership, After School, Summer and Extended Learning Time, Arts Education and Building Audiences for the Arts.6/21/2019 5:35:22 PMThe Wallace Foundation / News and Media / Wallace Blog / New Name, New Look to Draw a New Generation of Fans World Music/CRASHarts changes name to Global Arts Live, gets a facelift 450https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx
For Steppenwolf Theatre the Connection’s the Thing3710GP0|#8056f3bc-89c1-4297-814a-3e71542163be;L0|#08056f3bc-89c1-4297-814a-3e71542163be|Building Audiences for the Arts;GTSet|#a1e8653d-64cb-48e0-8015-b5826f8c5b61<p>​​​​​​​​​​​​​​​A little more than 10 years ago, Chicago’s Steppenwolf Theatre Company shifted its relationship with its patrons by offering them face-to-face conversation with the company’s performers and artistic staff. The new approach came about after Steppenwolf used an Excellence Award from The Wallace Foundation to develop a series of online and in-person programs that supported a vision of the company as “a public square”—a forum where audience members could participate in discussions with artists and one another about the meaning of a work they experienced.&#160;</p><p>The goal for Steppenwolf, which produces plays for more than 200,000 audience members every year, was to promote ongoing dialogue that would strengthen audience members’ connection to the company—and even encourage them to attend performances more often. This three-year effort (from 2007 to 2009) helped move the company towards its objective as described in <a href="/knowledge-center/pages/wallace-studies-in-building-arts-audiences-building-deeper-relationships.aspx">a 2011 case study</a>. </p><p>We recently revisited Steppenwolf to see where the programs stand today and found the company not only continuing to engage audiences through lively discussions but also expanding opportunities for more of them. </p><h2 class="wf-Element-H2">2007–2009&#58; The Public Square Launches, and Expands</h2><p> Steppenwolf began creating its public square through three engagement tactics&#58; </p><ul><li>Post-show discussions after every performance during which members of the artistic staff posed questions to the audience (not the other way around) and everyone shared reactions as a group. Over the first three years, 52,000 audience members, or approximately 14 percent of the audience, stayed to take part in these conversations.<br><br></li><li>A free-event series called “Explore” that introduced visitors to settings, playwright histories and themes related to Steppenwolf plays. Held in a social environment featuring immersive live entertainment, food and beverages, these events were separate from play performances—in Steppenwolf’s smaller theaters and rehearsal spaces—and each hosted between 50 and 230 attendees.<br><br></li><li>An extensive collection of printed and online content in which ensemble members and artistic staff shared conversations they were having with one another about work as it was being produced. Video and transcripts of those conversations included dialogue about Steppenwolf artists’ own questions regarding meaning and artistic intent—questions that sometimes remained unresolved. Over the three-year grant period, the videos and podcasts were accessed more than 750,000 and 175,000 times, respectively.</li></ul><p> ​While the public square forums attracted large numbers of audience members, they may have&#160;also encouraged repeat attendance during the grant period. In fact, the number of nonsubscribers who purchased tickets to more than one performance per season grew by more than 61 percent from&#160;September 1, 2007, to&#160;August 31, 2009. Subscription rates, which were already above industry trends, rose as well. </p><h2 class="wf-Element-H2">Continuing the Public Square </h2><p> Since that time, the theater has found many programs worth extending. Post-show discussions still follow every performance, and between 10 and 25 percent of audience members (14 percent on average) stay to take part. A 2016 survey revealed that more than 80 percent of participants say the conversations help them better appreciate the work they have seen, and what they enjoy most is the opportunity to reflect on the play immediately after seeing it. </p><p>The company also still produces a wide range of videos, including ensemble and staff reflections on artistic intent and meaning. Increasingly in recent years, the staff has also tapped audience members’ post-performance reactions to a work. One tack is to approach attendees in the lobby after the show and ask them to share their observations on video. Those clips are then edited and posted on the company website or included in production-related e-mails. The reactions are not of the “I love it, go see it” variety used strictly for promotion; instead, they are more personal reflections about specific elements that an audience member finds moving.</p><p>In a similar vein, Steppenwolf has also begun asking attendees to share personal experiences at the theater through social media, which was in its infancy when the original case study was published in 2011. For example, some audience members at a recent performance of <em>A Doll’s House, Part 2 </em>had seats at the back of the stage and they were prompted to post selfies once they took their places. That strategy of encouraging user-generated content may be one reason Steppenwolf has one of the most popular Instagram accounts among not-for-profit theater companies, with nearly 16,000 followers. &#160;​<br>​​<img src="/News-and-Media/Blog/PublishingImages/Pages/For-Steppenwolf-Theatre-the-Connection’s-the-Thing/IG3.png" alt="IG3.png" class="wf-Image-Left" style="margin&#58;5px;" /><br></p> <p class="wf-Element-ImageCaption">To promote interaction among its audiences, Steppenwolf Theatre encourages visitors to post images on social media, such as this post on Instagram.​ </p>​ <p>As for the Explore events, former Marketing Director John Zinn notes that a new performance series and a recently added in-house café (both described below) provide opportunities to continue dialogue in a more flexible and ongoing way. As a result, the company has​ discontinued the Explore programming. </p><h2 class="wf-Element-H2">Creating More Conversations and Opportunities to Have Them </h2><p> Even as its leadership has changed, Steppenwolf's commitment to discourse remains a defining feature of how it engages audiences. In 2015, ensemble member Anna D. Shapiro took over as artistic director from David Schmitz, who moved into the role of executive director. Under both, the company expanded audience opportunities to participate in conversations at Steppenwolf that suit the lifestyles and circumstances of different groups.</p><p>&#160;The recognition that not everyone wants to have a conversation inside the theater itself was one motivating factor behind the 2016 opening of the Front Bar. A hybrid bar and coffee shop connected to the Steppenwolf lobby, it was designed as a gathering place post-performance or throughout the day, with the hope it would be a space where patrons could mingle with one another and with the artists. Marketing Director Kara Henry notes that within three years the cafe has exceeded all expectations, becoming a place where ensemble members and visiting artists mingle with patrons after a performance and during rehearsals. At other times it serves as an impromptu workspace for theater artists from communities and companies across the city, many of them performing in or drawn to programming in Steppenwolf’s more intimate<u> </u>black-box theater.</p><p>Encouraged by the success of the Front Bar, the company plans to create other kinds of gathering spaces as it expands its campus into a new building now under construction. In that same spirit of reducing distance between audience and artists, Steppenwolf is designing the theater within the new space to be more intimate by bringing patrons closer to the stage.</p><h2 class="wf-Element-H2">Telling More Stories </h2><p> The artistic staff at Steppenwolf believes its mission, first and foremost, is to tell narratives that are relevant to Chicago. It is now expanding what that duty means as well. Increasingly, the company is looking beyond audiences who are already coming to the theater and is focusing on new ones, what Henry calls “a&#160;commitment to creating more stories for more of Chicago.” She adds, “Our invitation to theater patrons must be wide, with programming that reflects Chicago’s diversity. As we see the composition of Chicago change, we have an obligation to have our work reflect that.” </p><p>With that in mind, the company has featured a more diverse array of voices on the main stage. In 2016, it launched LookOut, amulti-genre performance series in its black-box theater, which provides an intimate cabaret-like setting. LookOu<em>t</em> programming draws from a wide range of Chicago-based artists, and its smaller scale allows for a greater diversity of shows to be presented within any one season. On select occasions the company has featured work that complements main-stage productions in order to build on conversations happening there. To date, LookOu<em>t</em> has featured 1,190 visiting artists, who have presented 146 shows in 422 performances to an audience of 29,005. That audience skews younger than the traditional Steppenwolf visitor&#58; 46 percent are Millennials, according to the theater's ticketing database,&#160;and another 20 percent are Gen X. </p><p>Ultimately the company hopes that giving audience members multiple means to connect with its work and artists will create stronger, more personal bonds and include broader segments of Chicagoans. Henry sees the engagement strategy as supporting Artistic Director Shapiro’s intent to “make connections that transcend ideas onstage, with experiences that seek to enhance the lives of every person who walks through our doors.”</p>​<br>Bob Harlow822019-06-11T04:00:00ZIn the past decade, the Chicago theater company has grown its audiences by cultivating a “public square” and connecting with patrons.6/11/2019 2:00:44 PMThe Wallace Foundation / News and Media / Wallace Blog / For Steppenwolf Theatre the Connection’s the Thing In the past decade, the Chicago theater company has grown its audiences 772https://www.wallacefoundation.org/News-and-Media/Blog/Pages/Forms/AllItems.aspxhtmlFalseaspx

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