Nurturing the Big Conversation Digitally Using Culture Segments


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Nurturing the Big Conversation Digitally using Culture Segments
Ginny Cartmel,
Morris Hargreaves McIntyre

In this session Ginny will start by look at some recent trends in social media engagement followed by a brief introduction (or re-familiarisation) with the Culture Segments system.

She'll then explore data collected through a range of different studies that helps us to understand how the different Culture Segments engage with social media - what kind of interactions they seek and what this means for arts organisations and cultural venues. Using real examples, you’ll discover how social media messaging can be practically differentiated and optimised through applying Culture Segments, ultimately helping us to achieve a deeper relationship and bigger, more relevant conversation with our audiences.

The session is aimed at anyone who is interested in how segmenting audience can help refine messages and will be particularly relevant to those working in marketing. By the end of the session attendees will have an understanding of how Culture Segments can be applied when developing messages for and engaging with audiences online.

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Nurturing the Big Conversation Digitally Using Culture Segments

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  4. 4. 4   Vodafone  offers  4G  LTE  coverage  in  Auckland,  Arrowtown,  Christchurch,  Gisborne,   Hamilton,  New  Plymouth,  Palmerston  North,  Queenstown,  Taupo,  Tauranga,   Wanaka  and  Wellington  on  the  1800  MHz  frequency,  and  is  available  to  all   compaNble  devices.  
  5. 5. 5 Here’s  some  data  on  the  number  of  users  of  the  top  social  media  sites  in  the  world   in  November  2013   You  Tube  is  the  most  popular  site  in  NZ,  closely  followed  by  Facebook.  Over  half  the   NZ  populaNon  are  using  these  sites.     We  can  also  see  nearly  1  in  5  are  accessing  blogging  sites  like  Wordpress  or  Tumblr.     It’s  also  interesNng  her  to  compare  results  with  Australia  –we  can  see  Pinterest,   Flickr  and  YouTube  are  all  more  popular  over  here.         This  data  shows  the  top  10  SM  sites  globally,  as  published  in  Adcorp  data   Source:  Adcorp   h[p://­‐blog/Social-­‐Media-­‐StaNsNcs-­‐October-­‐2013,-­‐ Australia-­‐an     YouTube  the  most  popular  site  in  NZ:  the  user  numbers  show  that  56%  of  the   populaNon  use  this  site,  closely  followed  by  Facebook  at  53%..  Globally  (and  in  Oz)   Facebook  dominates.   Wordpress  is  also  popular  here  -­‐  the  largest  self-­‐hosted  blogging  tool  in  the  world,   used  by  19%  of  the  populaNon,  and  Tumblr  –  a  similar  concept  to  Wordpress  but   more  of  a  social  network  site  as  well  as  blog  host  used  by  17%  of  the  populaNon.  
  6. 6. 6 Perhaps  what’s  even  more  useful  is  to  look  at  where  the  growth  is  –  how  usage  of   these  sites  has  changed  over  Nme.       Growth  parNcularly  strong  with  Instagram  and  Pinterest  –  both  highly  visual   pladorms  –  although  only  around  6%  -­‐  7%  of  the  NZ  populaNon  are  using  these  sites   it’s  on  the  up.  Reflects  a  trend  in  social  media  users  placing  increasing  importance  in   visual  content  –  borne  out  in  moves  like  Twi[er  releasing  an  update  that  previewed   images  within  the  newsfeed  and  the  rise  of  apps  like  Snapchat.   Whereas  other  sites  might  have  started  to  reach  saturaNon  point  –  Facebook   actually  saw  the  lowest  rate  of  growth  at  5%  -­‐  saturaNon  point?     2  websites  actually  saw  a  decrease:  Twi[er  down  by  5%  and  Flickr  by  10%       Note  that  data  for  Google  +  is  not  available  (contenNous  usage  stats?)   All  data  sources  are  included  in  the  data  release  on  Adcorp  site.       The  average  pres+ge  Instagram  community  is  100,000+  and  registers  engagement   (the  percentage  of  the  community  that  responds  by  liking,  commen+ng,  or  sharing   the  photo)  18  +mes  that  of  Facebook  and  48  +mes  that  of  TwiBer:  L2ThinkTank        
  7. 7. 7 There have definitely been some global trends which have seen shifts in the social media landscape There’s been an emergence of niche networks which have started chipping away at mainstream networks. Especially teens – the early adopters of social media – who are starting to abandon Facebook in favour of sites like Snapchat, Instagram and WhatsApp Social media commentators talk about people ‘drowning in noise’ – it’s increasingly difficult for people to locate things of interest on platforms like Twitter and Facebook. Instead people are turning to Interest-based networks – groups of people (relative strangers) with shared interests
  8. 8. 8 Here are a couple of examples of these interest based networks
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  11. 11. 11     L2  Think  Tank  did  a  2013  survey  of  247  global  brands  (from  fashion  through  to   hotels),  assessing  their  social  media  acNvity  and  found  that  the  typical  presNge   brand  is  present  on  no  less  than  seven  different  pladorms.  Swarovski  tops  the  list   with  an  impressive  presence  on  15  different  pladorms!     I’m  now  going  to  quickly  show  you  some  data  that  explores  how  these  trends   translate  into  digital  engagent  for  cultural  organisaNons.  The  next  few  slides  present   recent  data  from  a  naNonal  Museum  in  London  –  one  of  the  most  visited  venues  in   the  UK  (and  the  world)  
  12. 12. 12 We can see there was a significant rise in traffic to the website this year. Our in-venue surveys recorded that 39% of visits were informed by the venue’s website, up from 25% the previous year. Google Analytics data also showed that web traffic was up by 47%. Linked to the Museum hosting a ‘blockbuster’ exhibition where pre-booking was often essential. For the first time more people were buying tickets online than offline Dwell time and page views were, however, down, suggesting better pathways within the site Online booking for exhibitions
  13. 13. 13 Here  we  can  see  the  devices  used  for  accessing  the  site  is  broadening  –  it’s   increasingly  important  that  they  have  mobile-­‐enabled  content    
  14. 14. 14 It wasn’t just an increase in visitors using the webiste – other digital sources increased in prominence, there were staistically significant increases in the proportions of visits informed by other digital content including social media (informing 5% of visits compared to 1% previously) and e-newsletters (5% compared to 2% the previous year)  
  15. 15. 15 The official Facebook page was the most freuqently-mentioned social media site  
  16. 16.   This  next  slide  shows  pooled  data  across  around  15  museums  and  galleries  that  we   work  with  in  London.  It  shows  a  year-­‐on-­‐year  increase  in  the  number  of  visits   informed  by  guidebooks  and  a  sharp  increase  in  visits  informed  by  venue’s  websites.   16  
  17. 17. This  trend  is  parNcularly  pronounced  with  overseas  audiences   17  
  18. 18. 18 Venues are clearly investing more in generating increased web presence. Klout is just one of a number of ways of measuring the effectiveness of an organisation’s social media activity. It’s a score out of 100 which attempts to measure social influence, factoring in reach, amplification and size of networks. This table presents Klout scores from ten international museums and galleries, with the score from September 2011 alongside their scores in May 2014. The British Museum has seen the steepest increase in Klout score over this period, rising by 29 points to reach second position, just below the Museum of Modern Art in New York.
  19. 19. 19 This is some data fro some recent research we’ve done with Arts Victoria in Australia – it was Audience Atlas, which is a population study of the culture market. The culture market is defined as anything from contemporary dance through to the cinema and those in the market have to have engaged at least once within the past 3 years. 94% of the population in Victoria in the market for culture. These %s represent the % of this 94% who have engaged across different artforms in the past 3 years. We won’t dwell on the detail in the next few slides but there are some interesting patterns to draw your attention to.
  20. 20. 20 Majority have used a smartphone, laptop and desktop in past week Not huge amount of difference across markets, but there are some patterns
  21. 21. 21 Those in the festivals market (this is all festivals but not music festivals e.g. literature, film etc) are the most technologically engaged Ballet market is close behind – both these markets are the least likely to have a desktop computer
  22. 22. 22 The museums, art galleries and classical music markets tend to be slightly less likely to have used mobile devices regularly
  23. 23. 23 Again a relatively similar distribution across different markets, but the same overarching patterns emerge,
  24. 24. 24 Again festivals are the most engaged – particularly with those more niche or emerging platforms like Instagram and Twitter Classical music market pops up with possibly more traditional / more text based platforms with Google+ and Linkedin
  25. 25. 25 Museums are often the least engaged with specific platforms, art galleries and classical music markets also pop up as less active
  26. 26. 26 Here are six ways people might engage with cultural organisations. Mentions on Facebook are the most popular across the different markets, followed by reading online reviews
  27. 27. 27 Here we can see that, reflecting their higher engagement with content rich social media sites, the Festivals market are the most likely to upload picture / video or use Facebook. Interestingly the classical music market seem to also be highly engaged but in a different way – their behaviour suggests they want to make the most out of their cultural engagements, often virtually visiting or seeking supporting information, checking out reviews ahead of their trip and contributing their own review. NB this isn’t necessarily in relation to seeing classical music – it could be any cultural activity
  28. 28. 28 And, perhaps unsurprisingly, it’s the museums and art galleries markets which are generally less likely to engage in these ways – this is particularly pronounced with the museums market
  29. 29. It’s a move away from the one-size-fits-all approach – it’s about grouping people based on shared needs so that you can tailor your approach   29  
  30. 30. 30 Segmentation system is about more than grouping people for different communications It’s about using real understanding to inform practical decisions Market segments need to be… 1.  Measurable segments need to be quantified 2.  Mutually exclusive segments need to be differentiated and distinguishable 3.  Accessible and actionable they need to be reached through communication media 4.  Of large enough size to promise a worthwhile return on investment  
  31. 31. 31 In terms of how we might group people up We need to understand what they are seeking to get out of the experience If we are to influence future behaviour  
  32. 32. 32 If you know what need they are looking to fulfill – what they seek to get out of engaging with artistic experiences – you will know which combination of messages and products and services is going to be most effective and deliver that.   Psychographics  –  a  more  sophisNcated  and  stable  way  of  considering  the  audience    
  33. 33. Based  on  data  from  a  study  which  took  place  in  2010     Evidence  shows  that  there’s  breadth  but  not  depth  –  having  done  Audience  Atlas   across  several  different  countries  internaNonally.  There’s  a  small  core  of  highly   engaged  but  relaNvely  high  proporNon  of  lapsed  /  infrequent  a[enders     CNZ  has  adopted  CS  as  the  naNonal  audience  segmentaNon  system  for  NZ  arts  and   culture  –  not  only  do  we  have  a  lot  of  detailed  data  for  the  whole  country  we  have  a   lot  of  data  at  regional,  venue  and  organisaNon  level.  This  data  will  be  updated   roughly  every  3  years.       MulNvariate  cluster  analysis   We  idenNfied  8  segments  from  the  data   33
  34. 34. They  are  named  to  reflect  what  they  get  /  could  get  from  engaging  with  the  arts       Culture  segments  –  whole  of  market  place  segmentaNon  –  2010     Previous  segmentaNon  systems  were  fantasNc  at  helping  clients  understand  their   current  audiences  –  but  some  were  limited  at  finding  new  audiences  in  the  wider   market  place     Designed  to  be  integrated  with  media  planning  tools  (e.g.  Target  Group  Index  –   omnibus,  longitudinal  survey  about  people’s  media  habits)  –  we  can  now  find  these   segments  in  the  wider  market  place  (rather  than  just  quanNfying  them  once  they’ve   actually  visited).             34
  35. 35. Diffusion  of  innovaNon     AffirmaNon:  Self-­‐idenNty,  aspiraNonal,  quality  Nme,  improvement  –  WHOLESOME   LEISURE   Release:  Busy,  ambiNons,  prioriNsing,  wisdul  –  risk-­‐averse  as  their  Nme  is  limited,   need  guarantees   Entertainment:  Consumers,  popularist,  leisure,  mainstream.  CELEBRITY.  BIG  BRAND.   SOCIAL  NEEDS  ARE  KEY  –  WEST  END   Enrichment:  mature,  tradiNonal,  heritage,  nostalgia  –  wary  of  markeNng,  like  to   make  their  own  decisions   PerspecNve:  se[led,  self-­‐sufficient,  focused,  contented  –  hard  to  influence  as  they’re   so  inner-­‐directed   35
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  40. 40. When  we  looked  at  this  data  by  segment,  we  saw  that  Essence,  Expression,   SNmulaNon  and  AffirmaNon  were  the  segments  most  likely  to  do  so  –  they  were   over-­‐represented  within  this  market     But  what  about  when  we  introduce  the  idea  of  a  contemporary  art  exhibiNon?       40
  41. 41. Here  we  can  see  that  SNmulaNon,  Essence  and  Expression  are  more  likely  to  be  in   the  market  for  contemporary  art  exhibiNons,  whilst  the  remaining  segments  are   more  likely  to  be  in  the  market  for  non-­‐contemporary  exhibiNons.     So  we  had  a  strong  idea  about  which  segments  to  target.   When  we  look  at  paid-­‐for  London  exhibiNons  there  are  4  key  markets,  when  we   throw  in  contemporary  there  are  3  key  markets.  But  we  obviously  wanted  to  test   this  theory  specifically  for  this  exhibiNon     41
  42. 42. 42 Once  the  exhibiNon  had  become  more  ‘adopted’  and  mainstream  it  allowed  the   markeNng  team  to  target  other  segments  
  43. 43. 43 SNmulaNon  –  idea  of  new,  be  the  first!     Essence  –  strong  sense  of  curatorship     Expression  –  GP  downplayed,  focus  is  on  celebraNng  the  work  of  others,  the   unknown  crasspeople  across  the  centuries  
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  45. 45. They  want  other  people  to  realise  that  they  have  got  their  finger  on  the  pulse     45
  46. 46. The  winning  stuntbears  will  rise  to  the  challenge  of  represenNng   Alan  Measles  on  the  back  of  Grayson  Perry’s  motorbike.   46
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  50. 50. Bar   Silent  disco   Fashion  show   Very  much  pitched  at  a  young,  contemporary,  connected  audience   50
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  53. 53. Tools  to  allow  them  access  to  GP  direct  –  unfiltered,  informaNve,  not  obviously   markeNng     53
  54. 54. Directly  from  the  senior  curator   54
  55. 55. Example  of  played  down  markeNng   55
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  58. 58. Involvement  from  hundreds  of  cras  enthusiasts  and  arts  insNtuNons   ‘BriNsh  Museum’  and  ‘cras  debate’  became  a  twi[er  trending  topic  in  the  UK   Over  1,450  tweets  –  esNmated  reach  of  about  50k   58
  59. 59. Our  3  core  segments  were  the  most  prominent  during  the  first  half  of  the  exhibiNon,   together  making  7  in  10  visits   59  
  60. 60. AffirmaNon  and  Release  sit  in  the  early  majority  group   60  
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  67. 67. 67 Great  language  –  completely  talking  to  their  Facebook  community:  have  a  ‘squiz’  at   what  this  mofo  has  to  say  about  this  killer  show  
  68. 68. 68 Here’s  another  example  –  young  language  –  we’re  going  to  miss  your  wicked  cool   provocaNve  posters  
  69. 69. 69 Here’s  an  equally  brilliant  but  contrasNng  example  from  the  Royal  New  Zealand   Ballet   Giving  their  Facebook  fans  direct  access  to  the  ArNsNc  Director  –  playing  on  a  desire   for  intellectual  engagement  with  their  online  community  
  70. 70. 70 Actually  getng  feedback  to  their  markeNng  campaign  through  facebook  
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  74. 74. 74 Survey  was  on  the  venue’s  website  in  March  2014.  It  was  a  pop  up  survey,  with   respondents  asked  to  give  feedback  aser  their  visit.  Looked  at  data  before  and     Sample  sizes  for  PerspecNve  and  Entertainment  too  small  to  comment  on  
  75. 75. 75 A  quick  crib  sheet  from  a  recent  study  we’ve  conducted  into  London’s  West  End   market  –  to  rebalance  some  of  the  content  which  we’ve  already  covered  which  has   mainly  had  a  museums  /  galleries  focus.    
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  82. 82. 82 Audience  growth:  helps  to  idenNfy  speed  at  which  you’re  a[aining  new  fans  –   idenNfy  what  the  successful  ingredients  are  and  apply  elsewhere     Consistency  is  key  –  not  comparing  apples  with  pears    
  83. 83. 83 Audience  growth:  helps  to  idenNfy  speed  at  which  you’re  a[aining  new  fans  –   idenNfy  what  the  successful  ingredients  are  and  apply  elsewhere