Our Market Is Everybody (Just Some More Than Others)

by:

Joe Patti

Broadway Producer Ken Davenport is singing my song. I know you know this tune, but based on my experience, it bears reiterating.

He talks about how he often gets pitched ideas for new Broadway shows.

One of my stock questions to anyone pitching me anything is, “Who do you think the audience is for your piece?”

This question not only helps me determine whether the Pitcher and I are on the same page, but it also gives me some insight into the business acumen of the person who wants me to get involved in their project.

The red flag answer to this filtering question of mine?

“This show is for everyone!”

While I appreciate the bullish answer, the fact is . . . no show is for everyone. And the more you try to make it for everyone, the more you water it down and make sure that it’s for no one.

[…]

…Your first marketing exercise when you embark on producing a show or building a career is as follows.

  1. Identify exactly who your audience is.
  2. Find that audience and exploit them and only them.

If your audience spreads to “everyone” from there then great, but it’s much easier to market to a niche than it is to the world.

I am sure pretty much everyone has run into a similar pitch or had staff/board members make a statement about a show being for everyone. What is often frustrating is that many people who say this own or work for businesses which are pretty clear on who their customer base is and isn’t.

Even funeral homes which about 98% of us will likely end up patronizing on behalf of deceased loved ones likely each have a demographics to which they appeal more than others.

Davenport’s advice to have a focus that moves from the specific to the general is a pretty good guideline when it comes to marketing decisions.

I suspect people feel that they are conceding a flaw in the product if they admit it isn’t for everyone. Saying a certain group will REALLY like it and everyone else will probably like it to might provide the psychological out needed to identify those it is realistically for.

Create, Re-Create, Recreate

by:

Joe Patti

I was reading a piece in CityLab about Repair Cafes which strike me as a good complement to MakerSpaces and creative activities that arts and cultural entities may host.   The concept was started in Amsterdam by Martine Postma who was disturbed by how much repairable equipment was sitting at the curb on trash day.  She sells start up kits that allow you to use the Repair Cafe logo and puts you in touch with the other Repair Cafe’s around the world.

But beyond reducing what is sent to the landfill, personal empowerment plays a large role in the Repair Cafe concept:

What she’s discovered was that it wasn’t that people liked throwing away old stuff. “Often when they don’t know how to repair something, they replace it, but they keep the old one in the cupboard—out of guilt,” she said. “Then at a certain moment, the cupboard is full and you decide this has been lying around [long enough].”

[…]

For the time being, communities are doing what they can to encourage people to fix things. Libraries like the one in Howard County, for example, have started renting out tools and creating “makerspaces” where members learn to both repair and create. Elsewhere, cities have hosted MakerLabs, FabLabs—short for fabrication lab—and Innovation Labs for both adults and children. Bike shops and nonprofits alike have fished scrapped vehicles from the landfill to repair and donate to the underserved community.

The social and personalized elements of the Repair Cafes, makerspaces, etc may be part of the value and appeal. After all, you can watch a YouTube how-to video to fix something that breaks. If you don’t have confidence in your ability to effect the repairs, having someone available to teach you the skills to do so in the process of fixing your stuff might motivate you to act. This despite the fact it is more trouble to haul your broken equipment somewhere versus tossing it in the trash.

It is also easier to toss stuff away rather than hauling it to Goodwill or the Salvation Army, but people donate goods to non-profits all the time because they know it is better not to let things go to waste.

Just as recognizing your capacity to be creative is empowering,  learning to fix items can instill a degree of pride and self-satisfaction which is why I feel it is such a close companion effort to creative activities.

Jawnty Approach To Museum Tours

by:

Joe Patti

A few months back, I wrote about a new approach, inspired by the National Forestry Service, the Barnes Foundation in Philadelphia, PA was adapting to combat poor impressions visitors might have upon arrival.

About two weeks ago,  I saw a story about their Barnes Jawn(t)s program where they hand over the tours to unconventional guides.  People can choose to take a tour with seven different guides who will provide their own perspectives on the Barnes’ collection.

(It appears technically, there may be 9 guides. According to the article, the first tour was conducted by “Madhusmita Bora, a classical Indian dancer, and Ashley Vogel, a staff member with the Bicycle Coalition of Greater Philadelphia.”)

The jawn(t) program is described as:

Join us for evening tours full of make-believe as we play fast and loose with everything you thought you knew about the Barnes. In Philadelphia, jawn is a catch-all word for anything. A Barnes Jawn(t) is an anything-goes tour of the collection with a fascinating Philly personality as your guide. These off-the-cuff, sure-to-run-off-the-rails tours are led by a diverse array of community leaders, artists, and comic-book nerds—all experts in their fields. No two tours will be the same. After taking a Jawn(t), you’ll never look at the Barnes the same way again!

My read on the project is that they are, in part, trying to combat the idea that visiting the Barnes Foundation “isn’t for people like me” by having people with whom you might better identify lead the evening tours.

You may recall a few months back I wrote about Museum Hack which conducts themed tours in various museums around the country, also billing themselves as an unconventional approach.  The Barnes approach seems to be in the same vein, but much more focused on the perspective of the individual guide.

I was wondering if the fact these tours start an hour after closing time was intentionally chosen so attendees’ potentially first visit to the institution would involve a more intimate group rather than interacting with the large number of daily visitors–or just a matter of convenience to accommodate people getting off of work.

Actually, I just noticed all the tours are on Tuesday when the Barnes is closed making me additionally wonder if some portion of experience is being customized and prepared for the tours earlier in the day. (Given the stipulations Albert Barnes made about how the art was to be displayed, I would suspect nothing about the galleries themselves is changed.)

Contributing to the impression that there might be some special customization going on is that they list a local group as the organizer:

Based in Philadelphia, Obvious Agency is an interactive design collaboration between Joseph Ahmed, Arianna Gass, and Daniel Park. The agency works with cultural institutions to explore new ways to engage audiences through custom games and interactive performances. The group also produces the artistic work of its members, including Go to Sleep, a real-life adventure game about insomnia. Commissions include the Diamond Eye Conspiracy through Drexel and Temple Universities.

I was interested to see this partnership/collaboration with an outside group as an indication of possibilities for other arts and cultural organizations.

Where They Use Pom-Poms Rather Than Pens To Fill Out The Audience Survey

by:

Joe Patti

Another month, another helpful webinar from our friends at Arts Midwest where different venues around the country talk about how they are integrating the Creating Connection practice into their operations.  This time around people from San Jose’s Teatro Vision and Red Wing, MN’s Sheldon Theatre.

Teatro Vision talked about an interesting project they conducted in conjunction with Day of the Dead activities. They had audiences respond to a number of prompts and then took the responses and used them to create poems which they posted in the lobby. Then they surveyed audiences about whether the poems helped to enhance the experience of the performance.

I had been looking forward to the Sheldon Theatre’s portion of the program for nearly a year. Anne Romens, the Creating Connection program coordinator, had been referencing their work in webinars and the professional development conference session we worked on last year so I really wanted a deeper dive into what they were doing.

If you have been reading up or hearing about Creating Connection over the last year or so, you know one of the basic, but crucial concepts is a focus on the audience and experience. The Sheldon has gone whole hog on that. Check out their website and you can see that plainly. Tell me you don’t want to be there.

Starting at about the 28 minute mark in the webinar, they talk about how there were no humans in any of the archival pictures of their building. Everything had been focused on the architectural beauty of the building. The 16-17 brochure was the first time an audience member attending a show was depicted in any of their promotional materials. If you watch their before and after pictures, you can see what a difference “populating” the building makes.

Executive Director Bonnie Schock talks about the concern her board and community members had that this shift in focus would undermine the value of the organization. But when they talked to their audience, themes of togetherness and shared experiences emerged as primary measures of value over the quality of performances and artistry.

They started to develop experiences surrounding performances- everything from meet and greets with artists to tea parties for performances of Alice in Wonderland. During a celebratory event at the start of a season, they handed out “emergency confetti” packets as people left for use when they were feeling down.

One technique I have seen nearly every group presenting a Creative Connection use is a white board/post-it note board for audience feedback. Not only did the Sheldon use this, they also “surveyed” audiences by having them drop little pom-poms in jars labeled with different sentiments (~40:45 mark).

A lot of great ideas presented by both groups, don’t let my prior interest in learning about one of them keep you from watching the whole thing.