Briel, Lann - ACL Final PDF
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Strategic Digital Engagement: Developing a digital content strategy for your staff and your organization Prepared by Lann Briel University of Minnesota Arts and Cultural Leadership Program May 4, 2016 Abstract Evidence suggests technology has created audiences that demand engagement from their cultural organizations the same way they demand entertainment from their traditional broadcasting sources. Digital technology, the internet, and social media have given arts organizations and artists new ways to promote events, engage with new patrons and maintain relationships with existing audiences. This broadcasting power begins with content production of videos, graphics, audio files and editorial content, otherwise known as assets. How efficiently and effectively these assets are archived, repurposed and broadcast across an organization’s media channels is dependent upon its leadership’s digital media strategy. Generating a strategic digital framework around mission, vision and values helps organizations foster new relationships, connect to new audiences, and establish brand identity. Briel 1 Introduction To broadcast is to communicate or transmit a signal or message as audio, editorial or video content to numerous recipients over a communication network;; to broadcast is to engage with an audience (American Heritage Dictionary, 2011). Over the past twenty years we have seen broadcast channels change from a one-way form of communication to a two-way. Audiences are able to repurpose a variety of content into memes, gifs and vines, and are sharing opinions and regenerating content on their own social media platforms. Digital technology, the internet, and social media have given artists and arts organizations new ways to promote events and engage with new patrons and existing audiences. Broadcasting power is now accessible to anyone with a computer or phone. When establishing a broadcast network for an organization how does one best utilize and leverage this power? What are the best ways to market an arts organization and promote what they offer in today’s saturated media culture? If arts and cultural leaders construct a digital strategic plan for internal workers, and make clear to staff what their media and marketing objectives are, will it enhance audience engagement and retention? When a strategic design provides internal users with clear guidelines on usage and impact, does it broaden external engagement with supporting audiences? It is my belief that when arts and cultural leaders empower staff with a digital content strategy it helps their workers understand digital terminology, where broadcast channels can be found, how media content flow through these channels, and outlines the importance of content repurposing shaping staff’s digital skillset, digital function and overall external audience engagement. Briel 2 Can designing a strategy behind digital objectives enhance audience engagement? According to arts and cultural strategists an organization’s reach is dependent upon where you can find desired audiences, what communities they are a part of and how your organization relates to those communities (Richardson, Visser, 2013 p. 8). This organizational reach begins with internal workers and media assets. By building workflow connections through a digital strategy and creating workplace tools to facilitate this strategy, workers can assist in growing external audiences. In return external audiences will become inspired cultural patrons and visitors and begin to see themselves as creative agents within the organizations they care most about. Simple workplace techniques to engage internal users allow them to leverage media assets to engage new donor bases. And technologically advanced organizations have the advantage of creating innovative work structures, are better able to predict future trends, as well as remake, reshape and encourage their culture, workflow and staff to become more agile in the digital age. Digital Media and the Arts According to arts marketer and author Bonita Kolb, between the years of 2008 through 2013 the world of traditional viewing arts, such as opera, theater, art museums and orchestra saw a decline in support and ticket sales. (Kolb, 2013, p 37-39) Furthermore, in a 2015 National Endowment for the Arts (NEA) study found that overall arts attendance has been in a significant decline over the past two decades (around 10%). This declining trend parallels increased internet activity that began in the mid- nineteen-nineties, providing proof that the internet has had an impact on arts attendance and the manner in which audiences are engaging with the arts. Over the Briel 3 past twenty years, digital engagement and the internet has influenced the ways audiences are accessing, viewing and listening to the arts. According to this 2015 NEA study it was found that between the years of 2012 to 2014, 71% of arts participants used electronic media to watch or listen to art, 34% used an electronic device to download watch or listen to music, and 45% used the internet to watch or listen to broadcast arts performances. This information leads one to believe that there is a direct correlation between how audiences want to engage with the arts;; its collections, music, photography and film. Table 1. Internet vs. Arts Engagement 1995-2015 Internet vs. Arts 100.00% 90.00% 88.00% 80.00% 79.00% 70.00% 66.00% 60.00% 50.00% 46.00% 40.00% 40.00% 39.40% 30.00% 35.00% 32.00% 33.40% 20.00% 14.00% 10.00% 0.00% 1995 2000 2005 2010 2015 Internet Arts *Data provided by Pew Institute and National Endowment of the Arts Another study conducted in 2014 by New York based digital marketing consulting firm Capacity Interactive supports this finding. This arts marketing firm found that many arts organizations continue to struggle with their digital engagement objectives. For Briel 4 instance, one quarter of web traffic is coming from mobile devices, but as of 2014 only 61% of organizations had mobile-optimized sites. According to Capacity Interactive while organizations are spending more on digital efforts they are still limited by budget, internal staff’s skill set, lack of strategy and leadership support. There is a dire need for understanding on how digital engagement impacts an organization’s audience retention and how digital reach is crucial for brand awareness, patron engagement and overall organizational sustainability. One could say that technology has created audiences that demand engagement from their cultural organizations the same way they demand entertainment from their traditional broadcasting sources. And how an organization chooses to harness this broadcasting power is reliant on its technological tools, content production and its leadership’s digital strategy. Table 2. Biggest obstacles for digital marketing initiatives, 2012-2014 SOURCE: Performing Arts Digital Marketing Benchmark Study, 2015 Briel 5 Participatory Engagement and Marketing In her book Marketing for Cultural Organizations Kolb defines marketing as “the process of analyzing the external environment to look for an opportunity to develop a product for a particular group of consumers……and a promotional campaign that will build a relationship with the consumer.” (Kolb, pg 9, 2013) Marketing is essential for arts and cultural organizations and one of the best ways for organizations to market themselves is by following Kolb’s advice of “building a relationship with the consumer.” One way to build a relationship with consumers is by creating a participatory culture around brand. Participatory engagement can be done onsite or can be procured online with organizational assets. Participatory engagement and culture is not only about brand strategy, but is one in which audiences are able to communicate openly, reciprocating and interacting with the organizations they support through content provided on broadcast channels. There are many different platforms to engage patrons from social media sites, like Twitter and Facebook, to video and image sites, like YouTube and Instagram. Simple hashtags, links to blogging sites, live-streaming and communication within online communities like entertainment, social news networking site Reddit, can promote organizations and their brands. Allowing organizational assets to be released and shared publicly can enhance brand and build audience. An excellent example of using a social media platform to engage with an audience or supporting community is the use of the “Snowy Night” image on Minneapolis Institute of Art (Mia) Instagram account. This past January during a blustery Minneapolis snowstorm Mia shared an image on Instagram entitled “Snowy Night” to Briel 6 announce to the community that the museum would be closing early that day. This Japanese woodblock print is one of Mia’s collection pieces, and on their posting they gave information as to who the piece was donated by and where their audience can find this piece within the museum. This strategy of putting the collection piece at the center of engagement follows their mission of “enriching the community by collecting, preserving, and making accessible outstanding works of art from the world’s diverse cultures.” This type of strategy maintains the respect for the piece of art and its donors. (fig a: Minneapolis Institute of Arts, 2015) By creating an open forum of participatory engagement, leadership within an organization will need to remain up to date on the changes and trends in technology, social media platforms, applications and software. The more videos, images or blog updates that are shared among those within your online community the better. In his Briel 7 book, the Internet as a Diverse Community Urs E. Gattiker explains the important components needed to create an online community. He determines that the following elements are essential in creating a community that supports your organization: personal relationships that intentionally make up a social network, open access to the community for interested parties, personal understanding, dialogue, conversation, feedback, shared experiences, interests and common history (Gattiker, 2001, p.183). Again, the above image, “Snowy Night” acted as a broadcasting tool connecting Mia’s Instagram followers to a museum collection piece in the middle of a Minneapolis snowstorm;; a snowstorm that was a shared experience between the museum and its Minneapolis audience. In addition to brand building, participatory culture can assist artisans, organizations and museums with new avenues of earned income, creating strategies around social media and marketing, to sell to and grow an audience. The audience in return will share their content and leave comments on networking sites such as Facebook and Google +. With the Mia Instagram “Snowy Night” example it was liked by over 500 Instagram followers and a similar posting on the same day on Mia’s Facebook page was shared 51 times, evidence that the museum has engaged followers, sharing their content across the internet. It has become imperative that audience and fans are able to find organizations large and small via their social platform. Good content around industry news and trends is another way to create audience co-creation in broader ways (Belew, 2014, p. 75). Through the process of crowd sourcing, sustainable financial and artistic programming is supported into the future. Support can be provided by a number of crowd – funding Briel 8 opportunities, including Give to the Max for organizations throughout the state of Minnesota, and nationally for artisans through the use of Kickstarter or GoFundMe. Both of these sources help advance and assist artists and organizations with the technology to help fund and develop projects. In 2012 Kickstarter funded $274 million art projects while the National Endowment for the Arts funded only $146 million (Wilson, 2013). What does this mean for the future of arts? In the future, might it be entirely possible for an artist to support his or her career with a Kickstarter campaign? Or a museum to curate a show driven by online audience support? One thing is certain, the transference of arts support from government-based grants to society at large through the use of online engagement brings the funding authority into the hands of the public and in turn the public sets the demand for its interaction. Content should resonate with target audiences, serving a purpose and speaking to broader topics. Industry trends and topics are reviewed;; videos are short and to the point;; images are easy to understand (Belew, 2014 p. 75). Brand building, using visual engagement and partnership strategies create active audience involvement. Using both strategies of participation and technological outreach to engage people with one another creates a vibrant and inclusive culture, increasing both donations and attendance. Keeping an organization’s mission at the center of outreach is always key, as it will maintain the respect of the community served and construct trusting relationships.
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