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Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
Westaf - ZAPP keynote presentation September 19, 2011
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Westaf - ZAPP keynote presentation September 19, 2011

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Keynote address at ZAPP conference, Atlanta Sept. 19, 2011.

Keynote address at ZAPP conference, Atlanta Sept. 19, 2011.

Published in: Business, News & Politics
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  • This film was instrumental in largely ending the marketing consideration of how films featuring African-American characters and themes were assumed to be likely rejected by mainstream audiences in the Southern States of the USA. In that regard, the film was such a major widespread success throughout the entire USA, including the South, that the marketing factor would never again be considered a major problem for any major film release.
  • Transcript

    • 1. Guess who’s coming to dinner tonight?<br />How to Remain Relevant When Communities Change.<br />Salvador Acevedo, President<br />September 19th, 2011<br />
    • 2. Guess who’s coming to dinner tonight?<br />ffffffffffffffffffff<br />Changed arts marketing forever!<br />
    • 3. Guess who’s coming to dinner tonight?<br />How to Remain Relevant When Communities Change?<br />ffffffffffffffffffff<br />
    • 4. Our societies are changing!<br />A FEW FACTS<br />A “New Mainstream” is emerging, as seen in younger populations (Census 2010).<br />ffffffffffffffffffff<br />
    • 5. Demographic Trends by Ethnicity<br />ffffffffffffffffffff<br />Source: Pew Hispanic Center, 2009.<br />
    • 6. Minority Majority States<br />ffffffffffffffffffff<br />
    • 7. The Wave of the “Minority” Young<br />48% of children under 5 years old belong to an ethnic minority group (Asian, Latino, and Black) <br />In one decade, the “majority” of Americans under 18 years old will belong to a “minority” group. <br />7<br />Source: US Census Bureau, 2008 & Pew Hispanic Center, 2009.<br />
    • 8. Changing (or changed) demographics<br /> Recent changes to the ethnic and cultural composition of our society will continue to alter the role and focus of arts and culture organizations. <br />8<br />
    • 9. Our societies are changing!<br />A FEW FACTS<br />Negative substitution of current profile audiences (Reach Advisors, 2011).<br />ffffffffffffffffffff<br />
    • 10. 10<br />
    • 11. Art Festival Participation<br />Percentage of US Adult Population Attending Art Museums,<br />Parks, and Festivals: 1982-2008<br />ffffffffffffffffffff<br />pp= percentage points<br />
    • 12. Our societies are changing!<br />A FEW FACTS<br />Cultural participation among Latinos and African Americans over-index that of non-Latino whites (GPCA, 2011).<br />The economic powerof“minority” groups is growing faster than the general population (Selig Center for Economic Growth, 2009).<br />ffffffffffffffffffff<br />
    • 13. Diversity is a matter of sustainability<br />Diversity is not only the right thing to do, it is the necessary thing to do.<br />We serve our communities… (Mission Case)<br />...in doing so, we secure our future (Financial Case)<br />Bay Area Discovery Museum, 2011<br />ffffffffffffffffffff<br />
    • 14. How to Remain Relevant When Communities Change?<br />ffffffffffffffffffff<br />
    • 15. The Latino community is very interested in the arts. <br />Do you agree? <br />Yes<br />No<br />
    • 16. The multi-dimensional diverse audience<br />Ethnic and cultural self-identification plays a crucial role in cultural participation…<br />…but it is not the only factor at play. <br />It is necessary to identify the sub-segments with higher potential for engagement. <br />
    • 17. Cultural Participation Among Minorities<br />Much of cultural participation occurs at non-arts venues. <br />Broader spectrum of activities.<br />Non-traditional definitions of arts and culture. <br />The rise of the citizen curator.<br />
    • 18. The social space is crucial…!<br />VS.<br />ffffffffffffffffffff<br />
    • 19. ffffffffffffffffffff<br />
    • 20. New models for cultural participation are… out of the box!<br />ffffffffffffffffffff<br />23,000 people attended a free live simulcast of an opera at San Francisco’s<br />AT&T ballpark, an effort by the San Francisco Opera to engage younger audiences.<br />
    • 21. The use of the social space that facilitates interaction / collaboration<br />ffffffffffffffffffff<br />
    • 22. Model for New Audience Engagement<br />ffffffffffffffffffff<br />Not everybody will come, but a lot of people will know about you!<br />
    • 23. Model for Cultural Competence<br />Leadership<br />Commitment by key staff and stakeholders<br />Structural changes<br />Resources<br />Culturally responsive services <br />ffffffffffffffffffff<br />
    • 24. Model for Cultural Competence<br />Leadership<br /><ul><li>It can come from any place, but it is easier if comes from the top down
    • 25. Recover institutional memory</li></ul>Chinese New Year<br />Dia de los Muertos<br />
    • 26. Model for Cultural Competence<br />Commitment by key staff and stakeholders<br /><ul><li>Resistance to change, internally and externally
    • 27. Plan for multicultural engagement</li></ul>Structural changes<br /><ul><li>Identify systems and processes that need to change</li></ul>Image courtesy of the Exploratorium<br />Image courtesy of Rene Yañez<br />
    • 28. Model for Cultural Competence<br />Resources<br /><ul><li>Identify the most appropriate model for each organization:</li></ul>Financial Resources Human Resources <br />© Monterey Bay Aquarium/Randy Wilder<br />Image courtesy of the Exploratorium<br />
    • 29. Model for Cultural Competence<br />Culturally responsive services <br />Evaluation:<br /><ul><li>Quantitative -Do your visitors reflect the diversity of your city/community/region?
    • 30. Qualitative - Do the communities you are looking to engage see you as a resource?</li></li></ul><li>An Internal Assessment...<br />How many attending this session identify as…<br />Non-Latino White?<br />African American<br />Latino/a<br />Asian<br />Native American<br />Mixed<br />Other<br />28<br />
    • 31. An Internal Assessment...<br /><ul><li>“…too many middle aged hyper educated (non-Latino) white people are going to limit the degree to which museums incorporate other points of view.” *
    • 32. Eric Siegel, Director of New York Hall of Science.
    • 33. “We don’t have enough people of color in leadership positions in the arts”
    • 34. Vivian Phillips, Hansberry Project at ACT.</li></ul>29<br />* Source: Demographic Transformation and the Future of Museums, AAM, 2010. <br />
    • 35. Your Strategy<br />Your Audience<br />(In search of) Multicultural Engagement – The Intercultural Model<br />30<br />
    • 36. (In search of) Multicultural Engagement - <br />The Intercultural Model<br /><ul><li>Your strategy should be holistic. </li></ul>You should consider minorities as a whole, not only as their ethnic / cultural identification. <br /><ul><li>Your strategy should be inclusive. </li></ul>Strategy should treat all your audiences as integrated parts of the overall population.<br /><ul><li>General marketing communications strategies should address and be appealing to minorities too.
    • 37. Intercultural strategy.</li></ul>31<br />
    • 38. Questions and Answers<br /><ul><li>Q & A</li></ul>Bay Area Discovery Museum, 2011<br />
    • 39. Thank you!<br />415. 404 6982<br />hello@contemporanea.us<br />440-B Ninth Street<br />San Francisco, CA 94103<br />contemporanea.us<br />34<br />24<br />

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