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.

1. 1

2. 2

3. 3

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
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://www.adcorp.co.nz/news-­‐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
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
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
Here are a couple of examples of these interest based networks

9. 9

10. 10

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
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
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
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
The official Facebook page was the most freuqently-mentioned social media
site

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. This
trend
is
parNcularly
pronounced
with
overseas
audiences
17

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
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
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
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
The museums, art galleries and classical music markets tend to be slightly
less likely to have used mobile devices regularly

23. 23
Again a relatively similar distribution across different markets, but the same
overarching patterns emerge,

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
Museums are often the least engaged with specific platforms, art galleries and
classical music markets also pop up as less active

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
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
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. 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
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
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
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. 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. 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. 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

36. 36

37. 37

38. 38

39. 39

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. 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
Once
the
exhibiNon
had
become
more
‘adopted’
and
mainstream
it
allowed
the
markeNng
team
to
target
other
segments

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

44. 44

45. They
want
other
people
to
realise
that
they
have
got
their
finger
on
the
pulse
45

46. The
winning
stuntbears
will
rise
to
the
challenge
of
represenNng
Alan
Measles
on
the
back
of
Grayson
Perry’s
motorbike.
46

47. 47

48. 48

49. 49

50. Bar
Silent
disco
Fashion
show
Very
much
pitched
at
a
young,
contemporary,
connected
audience
50

51. 51

52. 52

53. Tools
to
allow
them
access
to
GP
direct
–
unfiltered,
informaNve,
not
obviously
markeNng
53

54. Directly
from
the
senior
curator
54

55. Example
of
played
down
markeNng
55

56. 56

57. 57

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. Our
3
core
segments
were
the
most
prominent
during
the
first
half
of
the
exhibiNon,
together
making
7
in
10
visits
59

60. AffirmaNon
and
Release
sit
in
the
early
majority
group
60

61. 61

62. 62

63. 63

64. 64

65. 65

66. 66

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
Here’s
another
example
–
young
language
–
we’re
going
to
miss
your
wicked
cool
provocaNve
posters

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
Actually
getng
feedback
to
their
markeNng
campaign
through
facebook

71. 71

72. 72

73. 73

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
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.

76. 76

77. 77

78. 78

79. 79

80. 80

81. 81

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
Audience
growth:
helps
to
idenNfy
speed
at
which
you’re
a[aining
new
fans
–
idenNfy
what
the
successful
ingredients
are
and
apply
elsewhere