Engaging Audiences through Effective Collaboration, Presentation: November 2

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  • How hard was it to determine and identify your motivating factors?
    Did any of you discuss this with others in your organization? Did they agree or disagree with you?
    Can someone give us an example and specifics of a problem that is a motivating factor?
    Respond to an opportunity as an motivating factor?
    A plan, mandate or grant?
    Utilize a resource
    Great. Now, let’s look at 2 specific organizations and their audiences and brand awareness. What our job here and to advise if a collaboration can assist them.
    Whitney of Chicago Architecture Foundation Jana of Adventure Stage Chicago
  • Let’s go back to the examples you just gave and see if we can figure out what motivated these groups to collaborate.
    What problems were they trying to solve?
    Lack of core audience
    Losing core audience
    Lack of funds
    Lack of space
    Lack of specific skill set
    Lack of resources (other than money)
    Lack of exposure to target audience
    Lack of “credibility” with target audience
    Lack of technology
    Lack of “connected” board members
    Opportunity
    New and/or Expanded Space
    Diversity in Cast
    New Creative /Program/Curatorial Direction
    New Players/Staff
    New Skill Sets
    New Funding
    New Resources (other than money)
    New/Change of Brand
    New Technology
    Resource
    Programming
    Facilities
    Personnel (box office, back office, etc)
    Marketing/PR
    Niche Skill Sets
    Community Connections
    Communications
    Technology/Web
  • Let’s go back to the examples you just gave and see if we can figure out what motivated these groups to collaborate.
    What problems were they trying to solve?
    Lack of core audience
    Losing core audience
    Lack of funds
    Lack of space
    Lack of specific skill set
    Lack of resources (other than money)
    Lack of exposure to target audience
    Lack of “credibility” with target audience
    Lack of technology
    Lack of “connected” board members
    Opportunity
    New and/or Expanded Space
    Diversity in Cast
    New Creative /Program/Curatorial Direction
    New Players/Staff
    New Skill Sets
    New Funding
    New Resources (other than money)
    New/Change of Brand
    New Technology
    Resource
    Programming
    Facilities
    Personnel (box office, back office, etc)
    Marketing/PR
    Niche Skill Sets
    Community Connections
    Communications
    Technology/Web
  • Sometimes when we are so focused on an issue that we become myopic and lose what made us go into the arts to begin with: the creative spirit. During this break out activity, we want you to “break out” and work within your groups to
    both some standard and some “out of the box” potential partners and programs.
    Each of you has been assigned to a specific group-look inside your name card to determine what group you are in.
    You have 15 minutes to brainstorm in your group. Be sure to select a leader to speak for the group at 10AM.
  • Last week we looked at some different types of partners
    Break out into 5 groups to brainstorm both some standard and some “out of the box” potential partners which will bring the following assets.to
  • I am so excited to have these two gentlemen and collaborateurs here as the two of them have been involved in so many collaborations with many different partners, with many varying types of assets or lack thereof. We’ve asked them to talk about these collaborations from the perspective how they started, how did they identify potential partners, how did they as collaborating groups make sure their brand and organization did not get lost in the collaboration.
    Michael Orlove, Senior Program Director joined the Department of Cultural Affairs (DCA) in 1993 and has worked to transform the Chicago Cultural Center into a prime downtown venue for an eclectic array of music. He is the founder and producer of Chicago SummerDance, (now in its 15th year) and World Music Festival: Chicago (now in its 12th year) and has been and an ongoing coordinator of music at Millennium Park since it opened in summer of 2004. Michael is currently the Senior Programs Director for the DCA. He was named one of the "Chicagoans of the Year" by the Chicago Tribune in 2009 and one of Chicago's "Global Visonaries" by Chicago Public Radio WBEZ and the Beyond Burnham: Chicago Matters series.
    Asad Jafri is the Director of Arts and Culture at the Inner-city Muslim Action Network (IMAN), a Chicago-based community organization that works for social justice, provides direct services, and cultivates the arts in urban communities. IMAN’s arts programming includes Community Cafes, Takin’ It to the Streets: Urban International Festival, and Arts Leadership Retreat.
  • Engaging Audiences through Effective Collaboration, Presentation: November 2

    1. 1. Engaging Audiences through Effective Collaboration Session Two: November 2 Kelley Lavin The Lavin Group klavin@comcast.net The Arts Engagement Exchange (AEE) is an initiative of the Chicago Community Trust and the Chicago Department of Cultural Affairs supported by the Wallace Foundation.
    2. 2. The London School of Economics found that on Tuesdays most people are in their foulest mood. "It seems plausible that on Monday the weekend has not quite worn off,“ said researcher George MacKerron. "By Tuesday they are well into the working week and the following weekend is not yet in sight.“ THE WEEK, October 22, 2010 Welcome Back
    3. 3. The Latest in Collaborations Received in the mail last week
    4. 4. Homework Discussion
    5. 5. My organization’s Mission Statement: The Chicago Architecture Foundation is a nonprofit organization dedicated to advancing public interest and education in architecture and design. Examples how what we present/perform/offer embodies this statement: The Chicago Architecture Foundation presents a comprehensive program of tours, exhibitions, lectures, special events, and adult and youth education activities, all designed to enhance the public’s awareness and appreciation of Chicago’s outstanding architectural legacy. My organization’s Vision Statement: Because no art other than architecture so vividly expresses what Chicago is and where it is going, the Chicago Architecture Foundation will educate the public to expect the highest standards from Chicago's built environment. Knowing Your Organization Mission and Vision Statements Mission is defined as purpose, reason for being. Quite simply "Who we are and what we do.” Vision is defined as the “image of the future we seek to create.”
    6. 6. Core audience demographics: 38% Male 62% Female 45-64 Average Age $75,000-80,000 Average HHI 99% Completed high school 93% College Degree 49% live in the city; 92% Caucasian Core audience psychographics: Active cultural participants with professed interest in architecture, specifically: historic preservation, Chicago History, future of Chicago, new buildings being constructed What does this audience like about you? We are an educational organization - they attend for personal enrichment. Also, that we provide special access through behind-the-scenes tours What do your sense this audience wants from you ADDITIONALLY? Looking for more hands-on ways to explore their interests; looking for CAF to challenge their intellect while entertaining them Understanding Your Core Audience Demographics Psychographics Needs
    7. 7. Key target audience demographics: 25% Male 75% Female 35-55 Average Age $50,000-75,000 Average HHI 85% Completed high school 83% College Degree Predominately white (60%) but there is more diversity than with our core audience; 61% live in the city (higher percentage than core audience) How do you know this is your target audience? One of our stated goals as an institution is to be recognized as a major cultural institution. We understand that in order to build this reputation, we must attract audiences that are currently patrons of other major cultural institutions in Chicago. Key target audience psychographics: Enjoy attending cultural events throughout the city (performance, dance, music), but do not have a professed interest in architecture. What will this audience like about you? Many of our current programs address architecture as an art form; our new series “Architecture Is…” will examine the intersection of architecture and artistic disciplines such as dance and visual art. Understanding Your Target Audience Demographics Psychographics Needs
    8. 8. What is your organization’s brand in the minds of your core audience? We are seen as an authority on architecture and as an educational institution, however, we are not valued as a major cultural institution. Is this brand image you want your audience to have? If not, why and what to you want it to be? We certainly want to be seen as an educational institution and an authority on architecture, however we would like to be seen additionally as a major cultural player in the city of Chicago in order to broaden our appeal. What do you do to support your brand? Strong programming coupled with an active marketing campaign Core Audience “What’s a brand? A singular idea or concept that you own inside the mind of a prospect.” - Al Ries, Ries & Ries Evaluating The Strength of Your Brand
    9. 9. Is your current brand recognized by your target audience? Why or why not? Surveys have shown that we do not have strong brand recognition beyond our current, core audience. If people are familiar with CAF, they think that we are solely a tour operator. Is your current brand meaningful to your target audience? Why or why not? No, because they see us as an architecture-focused institution that does not appeal to their broader cultural interests. If your current brand is not recognized or relevant to your target audience, what would you have to do to change or alter your brand? We have to market more effectively our programming that addresses architecture as a form of artistic expression as well as our upcoming series that examines the intersection of architecture and the arts. Evaluating The Strength of Your Brand Target Audience “What’s a brand? A singular idea or concept that you own inside the mind of a prospect.” - Al Ries, Ries & Ries
    10. 10.   My organization’s Mission Statement: Adventure Stage Chicago creates dynamic and transformative theatre for young audiences that activates the imagination, inspires dialogue and strengthens community among families, educators and artists.   Examples how what we present/perform/offer embodies this statement: Each production features a young protagonist who must overcome challenges in a thematically mature environment. Our productions and programs are designed to be something families can enjoy together, as a whole. We encourage dialogue by posing a pre-show question to our audience which we continue to discuss post-show in our Curtain Conversation. We also have a wide range of programming and development opportunities for educators. My organization’s Vision Statement: ASC strives to become Chicago’s premier destination for theatrical productions and programming designed for young people aged 9 to 14 and the adults in their lives. We aim to be leaders in theatre education through professional development workshops, residencies and resources that offer innovative ways to infuse theatre into the classroom. We seek to cultivate and create challenging new work as well as produce celebrated stories. Knowing Your  Organization  Mission and Vision  Statements Mission is defined as purpose, reason for being. Quite simply "Who we are and what we do.” Vision is defined as the “image of the future we seek to create.”
    11. 11.   Core audience demographics:   35%  Male 65% Female  40 Adult Average Age, 12 Child Average Age $70,000+ Average HHI 90% Completed high school 75% College Degree  ____________________________________________Other Stats Core audience psychographics: Families with kids ages 9-14. They value education and shared experiences. They are very busy and involved in many activities. Convenience is important to them. What does this audience like about you? We respect their children and take pride in learning. They enjoy coming to a show that the entire family can learn from and participating in the pre and post show discussions. Our productions are of high quality and our camps and workshops are creative and interactive. What do your sense this audience wants from you  ADDITIONALLY? More of everything. We are currently preparing to move to a three show season. I also think they want more ways that their kids can be directly involved with the productions specifically, either on-stage or working backstage. Understanding  Your Core Audience   Demographics Psychographics Needs
    12. 12. Key target audience demographics:   40 %  Male 60 % Female  40 Average Adult Age, 10 Average Child Age $100,000+ Average HHI 100% Completed high school 100% College Degree Other  Important Stats How do you know this is your target audience? They are the “best” of our core audience. They speak on our behalf, encourage friends/peers to check us out. They organize groups. They are our biggest supporters. Key target audience psychographics: Interested in child/family education. They are connectors and organizers who are involved in multiple activities. They belong to other cultural organizations and donate to those organizations. They are involved in their children’s schools. What will this audience like about you? That they are able to have an experience with their children that is insightful and encourages discussion. We are accessible and eager to get to know them. We have a multitude of programs happening throughout the year. Understanding  Your Target  Audience   Demographics Psychographics Needs
    13. 13.   What is your organization’s brand in the minds of your core audience?  High production value. Educational and exciting stories that can be enjoyed by both kids and adults. People who care about you and your family. Is this brand image you want your audience to  have?  If not, why and what to you want it to be? Yep, that is pretty much what we are going for. What do you do to support your brand?  I believe that your brand is a promise you make to your audience, and fulfilling that promise strengthens your brand. Our brand seeps into everything we do. We hold our designers and actors to a high level of production. We value education and dialogue. We provide multiple opportunities to communicate with our audience; Curtain Conversations, Behind the Scenes Day, and Critics Corner on our blog to name a few.  Core Audience “What’s a brand? A singular idea or concept that you own inside the mind of a prospect.” -  Al Ries, Ries & Ries Evaluating      The Strength of  Your Brand
    14. 14. Is your current brand recognized by your target audience? Why or why not? Not sure…..in many ways we are just starting out. I feel that our brand is strong, but not sure if it is recognized by our target audience. This is one of the reasons we are big on community partnerships, trying to get our name out there. Is your current brand meaningful to your target audience? Why or why not? Yes, that’s why they are our target audience. They value the same things we represent. If your current brand is not recognized or relevant  to your target audience, what would you have to do to  change or alter your brand? ___________________________________________ ___________________________________________ ___________________________________________ Evaluating              The Strength of   Your Brand Target Audience  “What’s a brand? A singular idea or concept that you own inside the mind of a prospect.” -  Al Ries, Ries & Ries
    15. 15. Understanding your assets • What assets can you bring to a  collaboration?    Brand recognition/trust  Audience  Usable Facilities  Specialized equipment or skill  Staff time  Operations ( i.e. box office, back office)  Proven Marketing Expertise  Connections /Contacts ( for funding, audience, etc.)  Other_______________________
    16. 16. Understanding your limitations • What legal, personnel, facilities, financial or policy restrictions may constrain your ability to fulfill a potential collaboration?  Limited personnel-lack of time  No budget to contribute  Many approvals needed; some out of my control  Insurance considerations  Location-out of the way, no parking, etc.  Facilities restrictions: configuration, electrical, etc.  Other_______________________ • Would you discuss these with your potential partners in the beginning?
    17. 17.   Fundamental Needs-requirements Wants-would be good to have For  yourself For your  organization (or  boss or board) For your  audiences(s) &  community Identifying What You Need and Want  12
    18. 18. Break-Out Activity • Break out into 5 groups to brainstorm both 3 or more standard and “out of the box” potential partners and collaborative program ideas that will bring the needed resources or results. Assume that all partners have limited financial resources.
    19. 19. Group A: You are a children’s theater with a limited budget that needs a location and marketing help Group A Brainstorm: 1. Park Districts: partnering with park districts would offer the organization a programming location as well as advertisement in their printed publications and website 2. Community house and centers 3. Schools: schools would offer the organization space in their auditoriums while providing access to target audience 4. Martial arts school: partnering with a martial arts school would provide the theatre with a large production space while offering a unique venue to produce plays with fighting scenes to attract the interests of a subgroup of its target audience 5. Sports Teams: the theatre could provide programming during halftime and partnering with children sports teams would serve as a huge marketing machine for the theatre 6. Bookstore: the theatre could partner with bookstores and produce plays based on books
    20. 20. Group B: You are a contemporary visual arts gallery that needs to attract more of your core audience Group B Brainstorm: 1. Banks: the gallery could collaborate with banks since art is seen as a good investment for its audience 2. High schools and Universities: to target high school and college students, the gallery could partner with colleges and schools to put on challenges, competitions, and student exhibitions to get students into the gallery and interested in contemporary art. 3.Arts organizations: the gallery could collaborate with performing arts organizations to bring in the performing arts at gallery openings to activate the space in a new way 4. Restaurant: the gallery could partner with local restaurants to cater openings 5. Neighborhood festivals: the gallery could participate in local festivals to create a sense of community and ownership
    21. 21. Group C:  You are a neighborhood center with facilities that needs to attract both performing and visual artists and an audience Group C Brainstorm: 1. Partner with arts organizations to provide space for an arts crawl 2. Chicago Artist Resource (CAR) 3. Offer their facility for performances for a small fee or at no cost 4. Put on free performances to attract audiences 1. Put on holiday, themed performances and festivals 6. Present a well-known musician or visual artist to draw audience 7. Hold contests
    22. 22. Group D:  You are a bank that wants to build its clientele through the arts organizations and their patrons in your neighborhood Group D Brainstorm: 1. The bank could sponsor programs and have a percentage of revenue going to arts funding and the development of an arts fund program 2. sponsor local art fairs and block festivals 3. sponsor artist exhibitions in restaurants 4. Develop a community save the arts saving plan. A cash back plan could be developed in which patrons can use their debit card on particular days to benefit a particular arts organization. 5. The bank could develop programs and in-service training for artists and in return the bank builds a reputation that it cares about the community and gets visibility and local caché.
    23. 23. Group E:  You are a chamber music group without a location that needs to expand its audience to a younger demographic Group E Brainstorm: 1. Coffee houses: partner with local coffee houses to perform to patrons 2. Churches 3. Partner with yoga schools to perform live at classes while reaching new audiences 4. Perform at French market and give out coupons for other performances 5. Partner with visual arts festivals to perform to a wider audience
    24. 24. 10 Minute Break
    25. 25. Real Life Collaborateurs Asad Jafri Director of Arts and Culture at the Inner-city Muslim Action Network (IMAN) Michael Orlove Senior Programs Director, Chicago Department of Cultural Affairs
    26. 26. Finding Potential Partners • Putting yourself out there • Trial and error • Referrals • Read and research • Talk, talk, and more talk
    27. 27. Contact and Connect With • Your alderman • Your local Chamber of Commerce or other neighborhood organization • Your local park, neighborhood and/or school (or school council) • Area churches • Area businesses
    28. 28. Join Get Involved • Cultural Network (contact Maureen at maureen.burns@cityofchicago.org to sign up) • Your discipline's service and professional organizations (local or national) – League of Chicago Theaters; Arts Alliance Illinois; Audience Architects, Southside Arts and Humanities Network; Theater Communications Group, Opera America, Americans for the Arts, etc – Arts & Business Council; Chicago Arts Educators Forum; Emerging Leaders Network; Chicago Latino Network; Young Nonprofit Professionals Network; GuideStar; Bronzecomm
    29. 29. Stay Up To Date • Sign for eblasts from organizations, facebook or follow them on twitter • Subscribe to You've Cott Mail, www.thomascott.com • Check out National Arts Marketing Project & subscribe to their e-blasts, www.artsmarketing.org • Check out www.chicagoartistsresource.org • and sign-up for the monthly e-blasts • Register on www.artsengagementexchange.org/ sign up for the eblasts
    30. 30. Check Out • http://www.muckety.com/ • http://news.muckety.com/2009/01/02/chicago-bi • http://www.linkedin.com/nhome/ • http://www.hispanicbusinessmagazine.com/
    31. 31. Next Week • Homework is on the AEE website • November 9 Agenda: – Using social media to collaborate – The underbelly of collaborations – How not to get messed up – Real-life collaborateur panel

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