CRM Software Isn’t Strategy

by:

Joe Patti

Arts Professional UK had a great piece on developing a customer relationship management strategy (CRM). It is chock full of great resources including case studies, guides on how to choose a ticketing system and analyzing the costs of a ticketing system. It got me thinking about approaching Drew McManus about employing his web expertise to write something similar in the context of U.S. arts organizations for the ArtsHacker site.

A lot of the materials from that site appear to absolutely be useful for U.S. non-profits so take a look.

The thing that really caught my eye though was that customer relationship management (CRM) was first coined in 1995 and a lot of arts organizations are just starting to think along these lines nearly 25 years later.

Although technology is really what makes it possible to cross reference and analyze information in an effective amount of time, the heart of CRM is an organization wide investment in using the information to inform interactions with customers.

In other words, it doesn’t matter how sophisticated and informative the analysis produced by a CRM system if staff isn’t using it in decision making and conversations with customers.

As Helen Dunnett writes in the Arts Professional UK piece,

A key factor for success is embracing CRM as a strategic function that is led from the top and not seen as purely a marketing function. Being clear about the end-game and the cultural change that will be needed is important in ensuring the technology is used effectively. CRM isn’t a quick fix: the process requires a fundamental change to the way strategies are planned, budgeted, communicated and monitored. CRM has to become a way of life.

Sure, that is all well and good to say, but cost is pretty much the big factor and this sort of data processing capacity doesn’t come cheap, right?

Yep, you are right and this is how to approach that question according to Dunnett,

Cost is often highest in the minds of many arts organisations when considering an appropriate CRM/ticketing system, but there quite simply isn’t an inexpensive system that will offer the necessary functionality.

Do your research across several system suppliers and work out the cost of ownership over a three-to-five-year period. This is the best time period to test comparative cost-effectiveness,…

This becomes especially important when looking at systems that charge on the basis of a commission on the value of sales. 2 to 3% can sound like a low percentage but you need to be clear about what constitutes a sale

California Symphony–They Speak Your Language

by:

Joe Patti

I was excited to see Aubrey Bergauer posted a follow up to her original 2016 Orchestra X post regarding how the California Symphony was acting on the feedback it has received about the concert planning and attending experience. I have written about some of Aubrey’s work since then, but I was eager to see a cumulative reflection.

Unfortunately, her post came in the middle of the holiday production crunch so I only got around to reading it this week.

A couple of really interesting things that caught my attention in this latest post. First was the counter-intuitive value in leaving past events posted on the website. I always want to get the clutter of old information off my website so it is easy for potential attendees to find the information they want. While this is probably an important practice generally, for the California Symphony, leaving that information available helped bolster their credibility. She writes,

1) As the season progressed, this list got awkwardly short, especially for an orchestra like the California Symphony that doesn’t perform as frequently as our bigger-budget peers. Participants told us they couldn’t believe we didn’t perform more often, and it looked even worse when only a few concerts were on that list. 2) As they were trying to “get a sense of what we’re about,” as they said, they couldn’t really tell based on only a handful of upcoming shows

Another thing is that they started running digital ads in both English and Spanish. The Spanish ads have a link to a Spanish language landing page.

That pilot test did lead to a measurable increase in Latinx households, and so we decided to put some money behind developing the new site in both languages. Now, when we run ads in Spanish, we can link to landing pages in the same language, another step in making this important segment in our community feel invited and welcome here, as well as give them the information they need to join us.

This was not new information to me because Aubrey has been reporting her success attracting a broader audience segment on Twitter for a few weeks now.

While she didn’t report on the outcomes of the changes, her discussion of how they adjusted some of the website sections to be outwardly focused rather than inwardly focused gave me something to think about. For example, instead of “Education” as a navigation header they are using “Off Stage” with subheaders focused on kids, adults and artists. They also changed “Support Us” to the more outwardly oriented “Your Support.”

A lot of the work they did was in the area of providing background information both in their program book and website. Their program notes are more about the background of the artists and music than the technical details of the music. They have song clips and information drawn from Wikipedia available online for those who want to know more. They changed their writing style to short bullet points rather than paragraphs.

Aubrey provides the rationale behind these changes based both in research and user feedback so it is definitely worth while to read this recent post.

This Intermission Isn’t Big Enough For Bar And Bathroom Lines

by:

Joe Patti

Last month I made a post about the evolution of women’s restroom lounges resulting in a short, but interesting exchange about theater restroom facilities in Germany and Sweden.   Last week The Stage had the results of a survey of West End theater restrooms which further reinforced the fact that historical theaters have a tough time providing facilities to meet the usage habits of modern day audiences. (my emphasis)

At the 42 theatres counted, there is one toilet for every 26 people, with this number increasing to one toilet for every 38 female audience members – an indication of the under-provision of facilities for women.

At capacity, the average theatre would need a 57-minute interval – nearly three times the standard length of 20 minutes – to allow all women to go to the toilet, presuming each woman takes 90 seconds.

Note this is averaged across the 42 theatres. According to the article, “the Old Vic has just one toilet for every 56.7 women.”

They arrived at the gender specific ratios based on the finding in a 2010 survey that females comprise 68% of audiences and then applying that to the full attendance capacity of a venue.

I have no idea how they arrived at the 90 second standard for using the toilet.

Perhaps part of the problem isn’t insufficient number of toilets, it is that women aren’t as competitive as men when it comes to urinating. Put time clocks on stalls and offer discounts at the bar for finishing under 60 seconds, problem solved.

If you are planning an excursion to see shows in London, you might be better off at the National Theatre which has the best ratio of 13.3/person (180 toilets, by the way). The Royal Court and Royal Opera House hover just slightly behind that ratio.

Accessible and gender neutral facilities have worse numbers:

Another area in which theatres routinely under-perform is accessibility: 26 (62%) of the 42 theatres counted had just one disabled toilet, with two – the Ambassadors and Wyndham’s – offering no accessible toilets at all.

While most theatres cater for men and women separately, a handful, including the Royal Court, the NT and the ROH, offer gender-neutral facilities. The Royal Court is currently unique in that all of its toilet cubicles are gender neutral, meaning they are available to people of any gender.

I found that last sentence interesting because when I wrote last month about the evolution of restroom lounges, I noted that the very first public restrooms in the US were gender neutral because they were individual cubicles rather than the more communal arrangements we have today. The best approach for restrooms may be to go retro.  (I am not sure what the set up is at the Royal Court, but given that European restroom stalls tend to be enclosed floor to ceiling it is possible to offer individual gender neutral private cubicles without needing much more additional space.)

Too Much Culture? Heresy!

by:

Joe Patti

I recently experienced a confluence of reminders that not all experiences with arts and culture result in positive responses people anticipated. I am not talking about works of poor quality or offensive works.  Friend of the blog Carter Gillies sent me a link to a National Institute of Health case study on Stendhal syndrome where people have averse reactions to cultural overload.

In this particular case, a man visited Florence, Italy and

…he experienced a panic attack and was also observed to have become disorientated in time. This lasted several minutes and was followed by florid persecutory ideation, involving him being monitored by international airlines, the bugging of his hotel room and multiple ideas of reference. These symptoms resolved gradually over the following 3 weeks.

Four years later, he revisited southern France, this time with no intention of returning to Florence. However, visiting this area reminded him of his trip to Florence and triggered another panic attack followed by persecutory beliefs, again involving monitoring by the airlines and which settled within a few days.

Prior to this I had heard of Paris Syndrome which is a similar experience, but seems to be particularly associated with Japanese visitors to Paris. I was likewise aware of Jerusalem Syndrome in which people have religious oriented obsessions when visiting that city.

In the process of reading about Stendhal syndrome, I came across Lisztomania which was an actual thing 200 years ago and not a catchy song politicians video taped themselves dancing to while in college. (As I said, it was strange coincidence to be planning to write about it and then see the song title pop up in the news related to Alexandria Ocasio-Cortez)

Lisztomania is described an hysterical reaction people had to listening to Liszt perform. If you read the Wikipedia article on it, people have gone to lengths to differentiate it from Beatlemania by noting that Lisztomania was seen to be more of a medical condition and considered contagious. Take from that what you want, but it is interesting to read the entry and the various implications people of the time made about their respective constitutions enabling them to resist the “disease.”

Finally, I wanted to point out an NPR story I heard on New Year’s Eve about the horror people feel when they experience the impulse to crush and destroy cute things. People studying this situation basically say it is the brain’s attempt to keep us from being overwhelmed by our reaction to cuteness.

The study found that for the entire group of participants, cuter creatures were associated with greater activity in brain areas involved in emotion. But the more cute aggression a person felt, the more activity the scientists saw in the brain’s reward system.

That suggests people who think about squishing puppies appear to be driven by two powerful forces in the brain. “It’s not just reward and it’s not just emotion,” Stavropoulos says. “Both systems in the brain are involved in this experience of cute aggression.”

The combination can be overwhelming. And scientists suspect that’s why the brain starts producing aggressive thoughts. The idea is that the appearance of these negative emotions helps people get control of the positive ones running amok.

With all these stories coming to me in a short period of time and seeing the commonalities, it occurred to me that people in the arts and culture industry need to be mindful that experiences we provide can be overwhelming.  People with a long history of interactions with culture aren’t immune and perhaps aren’t any better suited to dealing with the feelings they experience. Deciding it is  logically impossible that you are unable to process a negative reaction given your experience and expertise may create no less anxiety than for someone who is having their first interaction and is at a loss to understand what they are feeling.

NB – Meant to include the following learning points from the NIH case study near the end of the post:

 

  • It is well known that adverse life events can detrimentally affect mental health, but it is less appreciated that intense experiences, that would otherwise be considered positive, can have similar effects.
    […]
  • It seems that “pilgrimages,” be they religious or artistic, are particularly likely to induce such psychological reactions.