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Don’t Ignore “Can’t Use My Tickets” Posts On Your Social Media Page

March 2, 2020

by:

Joe Patti

I wrote a post that appeared on Artshacker today about ticket scams occurring in the comments section of performing arts organization social media accounts.

Essentially, what happens is that a short time out from an event, posts start appearing in the comments section of your organization’s Facebook page apparently from people who need to get rid of their tickets because they have a conflict with the date.

The biggest, most immediate tell-tale sign that this is a scam is realizing there are more tickets offered for re-sale than have been purchased. In the screenshots I posted as examples, the $5 movie we were offering only had 16 advance tickets sold but there were at least 54 tickets being offered for sale. This doesn’t count all the offers we deleted.

You also need to wonder about the promised heavy discounts people were offering on a $5 ticket that made it worth texting or sending a direct message to a stranger.

Another thing I see if I don’t catch the fake post in time is tickets being offered for free that suddenly have a price attached if someone responds with interest.

The answer, of course, is that most of these accounts were bots. If you follow the link back to the poster’s account, you might find pictures of the person with family and friends which make it look legitimate (and I suspect some were real accounts that were hijacked) but others you notice some big inconsistencies like the fact their residence is in Sweden and they work for a company in Spain.

As I note in my Arts Hacker post, the simplest solution of shutting down commenting or requiring every comment to be approved can impede spontaneous reactions and conversations that create a sense of trust and community. Not to mention, it is difficult to conduct engagement campaigns if people are limited in their interactions.

Additionally, if people do get caught in a scam, it is likely to result in a negative association with, and perhaps distrust of, the organization on whose social media page the scam appeared.

If you knew you got a virus on a website or had your credit card number stolen on a gas pump skimming device, you would probably avoid returning, right?

One thing I didn’t mention in my original post but won’t probably come as a big surprise to many is that it is nigh-impossible to get the social media site to shut the scams down. We had a recent case where a person/bot posted their ticket offerings on their own page and tagged our page. I have to think this was a mistake and couldn’t have been effective because when we visited the page, there were more than 50 identical posts from a “woman” whose husband was deathly ill and couldn’t make dozens of monster truck rallies, concerts at bars, events at performing arts centers, many of them occurring at the same time across Canada and the United States.

We reported the page to Facebook. Even if it wasn’t a scam, a personal page was being used to conduct commerce. The response we got was that it didn’t violate any rules.

Anyway, check out the post on Arthacker, if nothing more than to see the screenshot examples of the type of posts you might encounter. I wouldn’t be surprised if the same names popped up on your social media pages.

Scammers In Your Social Media Community

Arts in an Age of Technology, Audience Relations, Info You Can Use, Marketing/PR

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Problems So Obvious A College Student Can Analyze Them In A Week

February 26, 2020

by:

Joe Patti

Earlier this month, Vu Le at Non-Profit AF made one of those posts you didn’t know you needed until it was written. In it he addressed the stress higher education school projects have on already overburdened non-profits.

It is pretty much a rite of passage so if you haven’t been approached by a university student who needs to complete an assessment of your organization providing you with recommendations for improvement by next week, you need to question your organization’s existence in the universe and whether it has any meaning at all.

And full disclosure, I was one of those university students as I am sure many of my readers were as well. If you weren’t, you need to question the quality of your education and whether it had any meaning at all.

Since I am referring to class assignments I received about 25-30 years ago, this practice is probably well over due for revision and Vu Le is just the person to help start the conversation.

Vu Le lists a number of issues with these assignments. If you have generously participated in these exercises, you can probably identify with a number of them.

They are time-consuming

They are poorly coordinated

They stress nonprofit resources

They are usually not helpful

They are sometimes insulting

He expound on each of these with some detail. Read his post for a fuller explanation.

I have two colleagues who are providing feedback for a class which is conducting this sort of evaluation as a semester long project and they have each expressed frustrations similar to those listed above.

One of the issues Le raised that I hadn’t really encountered before, but obviously bears consideration,

They are usually not grounded in equity: Many students want projects at organizations led by Black, Indigenous, and other communities of color, people with disabilities, immigrants and refugees, or other marginalized communities. But often they do not yet have the grounding in doing work in these communities without causing harm. Which means additional time and resources must be provided to coach the students and mitigate damage.

Of course, it must be acknowledge that university programs and especially the students often approach these projects with the best intentions. Le quotes Theresa Meyers, Chief of Staff at DC Central Kitchen,

The irony of it all is that society recognizes that nonprofits are understaffed and under-resourced which is part of the reason students are sent our way to ‘help’. [But] In our effort to support nonprofits, we are actually exacerbating the staffing inequities by forcing nonprofit leaders to also be unpaid professors.”

Le has a number of suggestions for improving the experience, which again, I briefly list here and he discusses in greater detail in his post.

Coordinate with nonprofits to figure out the best timing and types of projects:

Give plenty of advance notice

Build it into your budget to pay nonprofits

Make sure students do their research in advance

Have students do preemptive work on race, privilege, equity, diversity, inclusion, implicit bias, etc

Higher ed staff, build relationship with nonprofits

These are all good ideas, especially the one about reimbursing non-profit’s for their time, but I really like this one as a practical matter:

Collaborate on case studies: Often the projects are one-off, benefiting one student or one group of students. Think about more creative partnerships, such as working with nonprofits to create some case studies that multiple students can learn from and that can be used across many semesters.

I think Le envisioned case studies being used across multiple semesters as a way to avoid having to constantly impose upon non-profits. However, I think creating an evolving case study across multiple years in partnership with a single organization would answer many of the issues he mentioned: there would be advanced notice; a basis for advance research and awareness of race, inclusion, etc,; a well-developed relationship; and the capacity to budget funds for the non-profit. A multi-year project could employ a modular approach that made a deeper analysis of a specific area each semester rather than a superficial summary of the whole organization.

Art(ist) Education, State of the Arts

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Sweetening Incentives To Experience Creativity With Strangers

February 26, 2020

by:

Joe Patti

Knowing that one of the biggest barriers people experience when planning to go to an event is not having someone to accompany them, five years ago I was inspired by a Brazilian bus company that set aside seats for those who wanted to meet new people. And more recently I wrote about an English town that was attempting to do the same with park benches. There are coffee houses turning off the wifi in an attempt to get people to talk, as well.

I attempted to create a similar program at the performing arts center at which I previously worked. The idea was to match up people who didn’t have anyone to attend events. The results were good, but not exactly as I had planned.

Thanks to some funding by the local community foundation and buy-in from the local arts alliance, we are trying another iteration of this idea. Credit where it is due, my marketing director has pretty much spearheaded the effort (i.e. wrote the grant and is doing a lot of the groundwork) together with the executive director of the arts alliance.

The concept is pretty much the same as I had attempted before, except that it involves all the arts organizations in the community and provides a little incentive to sweeten the deal.

Essentially, the arts organizations will offer free admission to selected events. People will sign up indicating what type of events they would enjoy attending. They are matched up with someone else with whom they attend the event. They are given $20 which they can use to go out to get coffee or drinks, etc and discuss their experience. (Yes, it is a rare grant that allows the purchase of food.) Participants are expected to provide some sort of report back. I am going to nudge my marketing director to suggest that creative responses (i.e. writing a poem, singing a song, making a video, etc.) are just as welcome as a narrative essay reflecting on the experience.

Our marketing director talks about the whole concept in a video interview if you want to learn more.

Details are still being pulled together, including getting participation from arts organizations. Keep an eye on the old blog here for periodic updates on the progress.

Audience Relations, Building Public Will For Arts And Culture, State of the Arts

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When The Docent Is Just As Storied As The Artifact

February 24, 2020

by:

Joe Patti

Back in November 2018, I wrote about how the University of Pennsylvania Museum of Archaeology and Anthropology was hiring refugees from Middle Eastern countries to act as docents for galleries of that region. Last week, NPR ran a story on the program which has expanded to include docents from Africa and Mexico & Central American to guide people through those collections .

The program has proven popular with visitors and peer institutions,

Attendance at the Penn Museum has shot up since the Global Guides’ first tours in 2018. A third of its visitors today attend specifically to take a tour with a Global Guide, according to the institution’s internal research, and the program has attracted attention throughout the museum world. Nearly a dozen other museums have asked about developing similar programs, and there’s already one in place at the Pitt Rivers Museum at the University of Oxford in England.

Something that struck me as valuable to any arts & cultural organization, whether it is a museum or not, was the training these docent received:

The guides received traditional training in archaeology and ancient history. Plus, the museum hired professional storytellers to help the Global Guides lace in personal tales about their lives.

In the quest to make what we do feel more relevant to people in our communities, storytelling is an increasingly valuable skill. I have come to recognize in recent years that while we all have stories which have a powerful resonance for ourselves and others, not everyone is particularly skilled in telling stories. Making storytellers part of staff, volunteer and particularly board training can have some productive results.

Related to that, reading about the museum hiring professional storytellers reminded me of a post I did in 2011 about how the North Carolina Arts Council used folklorists to survey the residents of a county in which they wanted to set up an arts council.

This apparently yielded better results than having a surveying firm canvas the county because the folklorists were able to identify and access niche communities that might normally be missed–especially among those who don’t consider themselves to be artists. So on the flip side, people who are adept at collecting stories may be valuable to surveying efforts.

Folklorists, as it happens, are some of the best trained interviewers out there. They also have a particular advantage when it comes to arts research: folklorists are trained to seek out and recognize creativity in all forms, especially that which comes from people who don’t consider themselves “artists.”

P.S. Once again, I have missed my blog’s birthday. It was 16 years old yesterday. At least this time I remembered before Drew McManus wished it a Happy Birthday first. Not that this assuaged the blog’s resentment at having its birthday forgotten once again. You know how it is with teenagers

Art(ist) Education, Arts Facilities, Audience Relations, Building Public Will For Arts And Culture, New Initiatives, Working In The Arts

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