Love/Hate Relationship With Focus Groups

by:

Joe Patti

The Guardian had a long read piece on focus groups earlier this month. As I was reading, about how the companies commissioning the focus groups had difficulty accepting the results, I was struck by how similar it sounded to the accusations of elitism and arrogance often leveled at arts and cultural organizations.

I began to realize that this type of arrogance isn’t really distinctive to arts and cultural organizations, it is pretty much characteristic of any entity offering services and goods to the public, be it corporations or politicians.  If anything, the fact that the arts and culture sector worries about being out of touch may be to their credit.

The article says focus groups get a bad rap across the board,

The public resents the mediocre outcomes of a focus-grouped world, feeling that the culture of consultation dumbs down our politics, entertainment and just about everything else. The clients who commission focus groups to give feedback on a new product or political initiative resent the obligation to listen to ordinary, non-expert people, and often feel humiliated by their judgments. Everyone imagines the participants to be idiots.

The companies who commission focus groups tend to hate the group participants, which the authors and those interview for the article attribute to various reasons. Some from the political or corporate class resent having to listen to “the people.” A number of focus group facilitators commented that clients are overly focused on the fact that participants are being paid and as a result think there is no need to feel respect or gratitude for the participants.

I thought this passage was particularly applicable to the arts:

Another complaint made by clients is that the people in the focus groups are not the target consumer…people from the agency would sit behind the screen during a focus group, and when it was over they would say: “Boy, did you bring in a bunch of stupid consumers. Our consumer isn’t like that. Our consumer is young, sophisticated, and bright. You brought in a bunch of dummies … They don’t know anything about this product.”

Many clients resent the arrogance of focus group participants, who (in their view) have way too much confidence in their own opinions, and too little humility about their own lack of expertise. Most of the time, clients hate the participants because these ordinary people provide an unbearable reality check: “[Clients] can’t believe that their customers don’t care about them or their product,” said Andy Tuck.

Sound familiar? Having preconceived assumptions about the demographics of the audience/community base you serve? Or perhaps you have created an idealized image about the community you serve? Whether they are rich or poor, they are intelligent enough to recognize what a gem they have in your organization and gratefully receive what you provide.

Yes, there is always that one person who said they have lived in the community all their lives and never stepped foot in your building before and are amazed by what they see. They are the exception to the general rule though.

Except that you are hearing this while standing in your organization. The reality you will probably experience standing on a random street is that a life lived without stepping in your building is the rule.

But as I said, I think there is some consolation to be taken in realizing that this type of arrogance is pretty much the natural result of wanting everyone to appreciate what you have built whether it is a company, political organization or arts and cultural entity. While we need to fret and worry a little that our egos are getting in the way of connecting with as wide a segment of the community as we should, we don’t need to necessarily fret that corporations and political campaigns are better at it than we are. Their research and execution are just better funded –and often times even that falls flat.

Can Your Organization Afford Empathy?

by:

Joe Patti

For about a month now I have been pondering a post Seth Godin made about the limits of empathy and how it might apply to customer relations in an performing arts setting.

In the context of a customer who wants a refund on a car purchase after a broken limb prevents them from driving, Godin writes,

But empathy doesn’t require you to reach into your pocket because the customer has rewritten the terms of the deal and is undermining the business you’ve built to serve others.

Instead, it means that you can see his pain and that you’re completely okay with this person not buying from you again. That through the mist of pain and percocet, it’s entirely possible that he doesn’t have the reserves to be empathic to you, that he can’t see it through your eyes. And you probably can’t force him to.

So empathy leads to, “I hear you, I see you, and if you need to walk away, we’ll understand. We hope you’ll see it the way we do one day, but right now, I can’t solve your problem.”

We have occasionally had situations where people feel we should give them a refund for a performance that has occurred due to situations where they chose not to attend. Some times it was because they decided it was too cold, it rained too hard or because their road hadn’t been cleared two days after it stopped snowing. None of this providing an impediment to hundreds of other people. Other times there are some strong indications that they want a refund because they decided they wanted to do something else.

I am not sure how often Godin’s scenario of people wanting a refund on a car because they broke an arm actually happens. The reality is, people do have the option of doing something other than participate in an arts and cultural activity and often exercise that option. We can’t necessarily be philosophical in the way we respond to requests for refunds in the face of this reality.

One alternative is to have so much business that you are okay if a person chooses not to buy from you again.

We are all experienced with this type of scenario. Drew McManus just experienced that this past week.

In the context of Godin’s post, Drew was trying to rewrite the terms of the deal –pay a penalty if you want to change or cancel. It’s right there in the reams of small print you acknowledge when you buy the ticket. In American Airlines’ mind, it would be undermining the business they have built to serve others if they just let anyone cancel or reschedule.

On the other hand, not to excuse these policies, this summer American Airlines wanted to give pilots and flight attendants a pay raise outside of contract negotiations in recognition for a difficult time employees faced during the merger with US Airways and Wall Street sent their stock plummeting.

““We are troubled by [American’s] wealth transfer of nearly $1 billion to its labor groups. In addition to raising fixed costs, American’s agreement with its labor stakeholders establishes a worrying precedent, in our view, both for American and the industry,” J.P. Morgan analyst Jamie Baker wrote

So the fact that empathy is apt to be punished might be contributing to a cascade effect in corporate/organizational culture.

Perhaps one positive result of many arts organizations being small enough that they worry about losing customers even over ridiculous refund requests is that there is a tendency to treat constituents with a higher degree of empathy than they would receive elsewhere. Perhaps working on providing that can become something of a competitive advantage for some organizations.

There are no clear prescriptive answers to the type of refund requests I mentioned earlier. Each has to be addressed as they present themselves with the understanding that we may or may not damage our relationship with someone in the process.

Knight Fdn Looks To Fund Technology Connecting People With Art

by:

Joe Patti

A heads up to people who have, (or know people with), innovative ideas using technology to connect people with arts and culture, the Knight Foundation is looking for project ideas via the Knight Prototype Fund.

Unlike some of the other projects the Knight Foundation funds, these projects don’t need to be set in the communities it traditionally supports which is why I wanted to bring it to everyone’s attention. As the prototype term suggests, they expect some of the concepts to be in the early stages of development.

Applicants don’t necessarily have to work for an organization. We’re looking for ideas from arts organizations, artists, technologists, designers, educators, researchers and others inside or outside of institutions who are eager to experiment. We’re open to diverse approaches and perspectives on the use of technology to connect people to the arts, and seek to identify projects that have the potential to be replicated by others in the field.

What can we build to help arts organizations expand their use of technology? How can we use the qualities of new mediums to create unparalleled experiences? How can we replicate solutions, so that more in the field benefit? How can we learn more about the people we are trying to reach and design solutions that understand their needs? How can arts institutions provide magic outside of their four walls? How can cultural organizations breathe warmth into technology?

[…]

We hope to invest in projects that have provocative questions at their core that can only be answered through the act of making them a reality. Grantees will join together over a nine- month sprint to learn innovation techniques and test ideas.

They anticipate the average grant will be around $50,000. Deadline is March 6. They are hosting an online Q&A from 1 to 2 pm ET on February 21 (connection instructions at bottom of the page)

As an example of the type of thing the Knight Foundation has been doing lately, they partnered with the creators of Pokemon Go to see if similar games or tools could help build community.

It sounds like they would be open to projects that pushed the envelop even further as well as repurposing existing tools in a manner few people have considered.

One of the things I most appreciate about what the Knight Foundation proposes is that they are going to provide applicants with training in innovative methods as well as bringing them together to learn from each other. This acknowledges that innovation isn’t generated in a vacuum or emerge from a lone genius working in a garage, but rather builds on past work in new ways, often in collaboration with others.

Taking Arts & Culture’s Measure

by:

Joe Patti

I have been cautioning the non-profit arts community about citing the economic value of the arts for over a decade now. The first time was in 2007. I wrote about it a few times in the interim, but I didn’t really start to devote time and space to the idea until the last 2-3 years.

However, if you don’t put stock in my arguments, perhaps you will find statements by celebrities with English accents to be compelling. Check out the following videos from an Arts Emergency Service convening at the Oxford Literary Festival where author Philip Pullman (His Dark Materials series) makes the same point cited in just about every piece I discussed in previous posts:

“Keep clear of economic justifications for the arts. If you do that, if you try that, you hand a weapon to the other side because they can always find ways of proving that you are wrong about it, you’ve got the figures wrong. You invite them to measure everything in terms of economic gain. My advice would be to ignore economic arguments altogether.”

Noted graphic novelist Alan Moore chimed in about “…the ridiculousness of, sort of, having to have impact. To appoint words like that to the arts, its criminal, its ridiculous.”

Pullman makes another statement that aligns with the assertions by Carter Gillies I often cite that just because something can be measured, doesn’t mean the measurement is relevant. (Diane Ragsdale also wrote a piece along these lines.)

“The government, you see, asks us to do something and then gives us the wrong tools to do it. [unintelligible] says, ‘Look I want you to measure this piece of wood. And here’s a tool for you.’ And gives you a grindstone. And one thing you can say is, ‘Why do you want to measure this wood anyway? This is firewood, I’ll burn it to keep myself warm.’ Questions arise from that. What is the right tool for measuring the arts and do we need to measure them anyway? What are we measuring them for?”

There is another video on the Arts Emergency page where the panel, which includes Arts Emergency co-founder, Josie Long, discuss the false dichotomy between art and science that is worth checking out.

As I was looking back at all the posts I made on this subject, I found the following tweet I had linked to many years ago.  It struck me that if you can’t entirely control the language your advocates use, request they make this one small change in terminology can help start to shift the “economic benefit” mindset. (Though perhaps not something to use in the context of immigration discussions.)