People Trust Museums More Than Newspapers. Here Is Why That Matters Right Now (DATA)

Actually, it always matters. But data lend particular insight into an important role that audiences want museums to play Read more

The Top Seven Macro Trends Impacting Cultural Organizations

These seven macro trends are driving the market for visitor-serving organizations. Big data helps spot market trends. The data that Read more

The Three Most Overlooked Marketing Realities For Cultural Organizations

These three marketing realities for cultural organizations may be the most urgent – and also the most overlooked. This Read more

Are Mobile Apps Worth It For Cultural Organizations? (DATA)

The short answer: No. Mobile applications have been a hot topic for a long while within the visitor-serving industry. Read more

Breaking Down Data-Informed Barriers to Visitation for Cultural Organizations (DATA)

Here’s a round-up of the primary reasons why people with an interest in visiting cultural organizations do not actually Read more

Market to Adults (Not Families) to Maximize Attendance to Cultural Organizations (DATA)

Marketing to adults increases visitation even if much of your current visitation comes from people visiting with children. Here’s Read more

museum visitors

Five Data-Informed Fun Facts About Visitors to Cultural Organizations

Visitors to cultural organizations often have certain telltale behaviors.  Here are five of them.

This week’s Fast Facts video is a fun one that shares a few data-informed findings about the kind of people who visit cultural organizations. Thanks to IMPACTS, I’ve got my hands on a whole bunch of trend data and sometimes little fun facts are just…well, fun!

Here are five, data-informed fun facts about high-propensity visitors to cultural organizations. 

 

The introduction, conclusion, and one of the fun facts merit a deeper, written dive. There a few important, extra takeaways worth noting from this video (that are not the five fun facts themselves):

 

1) Not everyone wakes up wanting to visit a cultural organization

Yes, I think that this is a bummer just like you do. If everyone wanted to visit cultural centers, we wouldn’t be having so much trouble engaging more diverse audiences or even attracting millennials at representative rates. Cultural organizations often have a hard time admitting to themselves that their likely audiences aren’t “everyone.” This certainly does not mean that we shouldn’t try to get “unlikely” visitors in the door. We really, really should – and in fact, we need to evolve our business models and better engage these audiences in order to survive. But the reality is that some people are more likely to visit cultural organizations than others.

As much as our industry may appreciate a scapegoat, data and economists alike have been proving to us for years that free admission is not the cure to engagement that many imagine it to be. The sooner that we move on from this, the sooner we can create affordable access programs that actually work (here – read this, too), and the sooner that we can create business models that are more sustainable.  We are so busy fighting to maintain our belief in the myth of free admission curing engagement, attendance, and participation issues that we aren’t moving forward, or even thinking creatively or strategically about how to stay alive and relevant long-term. But I digress…

A high-propensity visitor is a person who demonstrates the demographic, psychographic, and behavioral attributes that indicate an increased likelihood of visiting a cultural organization (e.g. museum, aquarium, botanic garden, historic site, symphony, theater, etc). High-propensity visitors are the folks who keep our bread buttered – they are the folks who visit, donate, and reliably engage with our organizations. This video covers five, random fun facts about these people.

 

2) Visitors are extremely connected to the Internet

High-propensity visitors are 2.5x more likely than the average person to qualify as being “super-connected.” This means that they have access to the web at home, at work, and on a mobile device. In fact, these folks acquire information regarding leisure activities almost exclusively via the web, social media, and peer review sites like Yelp and TripAdvisor. Visitors to cultural organizations have constant connection to the Internet – meaning that what cultural organizations do online is really, really important.

Interestingly (though unsurprisingly), millennial high-propensity visitors are crazy super-connected. That said, the folks that are going to attend a cultural organization are all looking things up online and using the web and social media, regardless of age.

 

3) Likely visitors are not necessarily rich

“No kidding,” you’re probably thinking if you’re reading this before watching the video. After seeing the five fun facts about high-propensity visitors, though, you may be thinking that high-propensity visitors must be very rich. Being a high-propensity visitor has nothing to do with being “rich.” Plenty of not-super-rich people have a cat or dog, like to hike or ski, enjoy a nice meal with a great glass of wine, and occasionally travel overseas for vacation. This person doesn’t have to be a multi-millionaire. (I mean, they could be, but they don’t have to be to possess these behaviors.)

Being a high-propensity visitor is indicated by how someone chooses to spend the money that they have – not that they have tons of it. How someone chooses to spend thier money is a choice. So is how someone chooses to spend their time. Being a high-propensity visitor isn’t innately about being rich or poor. It’s about how someone chooses to invest his or her leisure time and money.

 

These three items may seem obvious to some, but they are worth extra attention because they tackle a few myths: 1) That likely visitors to museums include everyone (especially when admission is removed); 2) That the web and social media play “supporting” roles in reaching, attracting, and retaining audiences; and 3) That the most likely visitors to cultural organizations are rich. These popular beliefs are false. We know they are false. And yet they permeate too many, critical conversations.

Once we better know our audiences, then we’ll be best able to serve them.

 

Like this post? You can check out more Fast Fact videos on my YouTube channel. Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, Digital Connectivity, Fast Facts Video, IMPACTS Data, Millennials, Myth Busting, Nonprofit Marketing 1 Comment

Nonprofit Recognition: What Matters More To Visitors Than Your Tax Status (DATA)

Do visitors know that museums  and other cultural organizations are nonprofits? Data says: Nope. Here’s what really matters to audiences about your organization.

This week’s Fast Facts video covers a big misconception that folks working within cultural organizations (often unknowingly) promulgate: That being a nonprofit is a key differentiating factor to their audiences. As it turns out, data suggest that your organization’s tax status is relatively unknown among visitors and non-visitors alike.

This video explores the data. Not a video person? (That’s cool. You do you.) Here’s what you need to know:

 

1) The majority of people in the US do NOT think cultural organizations are nonprofits

Check out this data from IMPACTS that uncovers the percentage of the US adult population that believes that cultural organizations such as museums (e.g. art, science, history), zoos, performing arts centers, botanic gardens, and aquariums are nonprofit organizations. Like much of the non-proprietary data that I am able to share on Know Your Own Bone, the findings informing this analysis come from the ongoing National Awareness, Attitudes, and Usage Study of 98,000 adults (and counting).

KYOB- Nonprofit recognition data

The findings may be a tad alarming to some. I’ve personally heard the “but we’re a nonprofit” excuse for not keeping up with financial realities (among other things) more times that I can count. This data flips the popular excuse for lack of evolution on its head. Not only are most non-visitors to these institutions not aware that cultural organizations are nonprofit organizations, but over half of the people who do visit these types of organizations are unaware that they are nonprofit organizations.

Take a look at history museums, for instance. Only 47.2% of visitors to history museums know that they are nonprofit organizations. The other 52.8% of visitors (over half) are unaware that they are reliant on philanthropic support: They believe that the organizations are for-profit entities, or government-funded operations that are otherwise provided for by their taxes.

Regardless of the reason for the misperceptions, more than half of visitors to ALL cultural organizations do not believe that they play any role in keeping these organizations healthy or alive after walking in the door. Beyond paying admission (to what they consider a business) or paying their taxes (to an organization with free admission because their taxes fund a government-operated entity), the majority of visitors risk believing that there is no further need for their support.

 

2) The market is sector agnostic

The misconception that these types of cultural organizations do not need support as nonprofit organizations is a problem – but how big of a problem? We’ve created a situation wherein people think admission to cultural organizations is largely either a pre-paid entitlement (thanks to taxes), or a fee paid to a for-profit company. Admission to most cultural organizations are neither of these things.

Tied to the misconceptions regarding the need to support cultural organizations is another market-based truth: Today’s audiences are generally sector agnostic. This means that they don’t much care about an organization’s tax status. They care about how well your company or organization does what it claims to be expert at doing. Loyal Know Your Own Bone readers (you guys rock) know that I’ve shared this nonprofit recognition data before in a post about how, today, for-profit and nonprofit organizations compete against one another. At IMPACTS, we continue to find evidence supporting this fact nearly every day.

Let’s be honest: Market confusion makes sense in the case of many nonprofit, visitor-serving organizations. We’re nonprofit, but our operations often follow a traditional economic utility curve. In other words, unlike giving to a charity that supports the homeless, people are “paying” for the personal experience of visiting our organizations. But unlike SeaWorld (for instance), those revenues cycle exclusively back into our social missions to educate and inspire…because that’s what 501(c)3 organizations do. And that brings up another potential point of confusion: Disney World, SeaWorld, and Universal Studios are for-profit companies – and SeaWorld hits the “we’re mission-driven” button hard (or rather, it tries to). It makes sense that the market might give up on differentiating visitor-serving nonprofits from for-profits! And until recently, most nonprofit, visitor-serving organizations were marketing themselves primarily as attractions – NOT mission driven organizations. Some laggard nonprofit visitor-serving organizations still do…

 

3) The tax status of cultural organizations is not their differentiating factor

So far this is looking bad. Our audiences largely don’t know that we rely on their support in order to stay alive and they are sector agnostic so they, in a sense, don’t even care that we are nonprofit. So what do our audiences care about? How well we carry out our missions.

But nonprofits don’t “own” social good, and that’s a big reason for evidence of the market’s sector agnosticism. Corporate social responsibility is a necessity for companies today. There are countless articles on the importance of for-profit companies “doing good.” It is a key tactic for gaining more customers. And that’s interesting because there are still some cultural organizations that do this weird, outdated thing where they try to overlook their social advantage and exclusively promulgate “visit us today!” messages (and even offer discounts that devalue their brand and cause even more sector confusion for cultural organizations). It’s like some of them are trying to be like Disney World…

Being good at your mission is good business. Data demonstrate that organizations highlighting their missions outperform organizations marketing primarily as attractions. Perhaps, in all of our “But we are a nonprofit” excuse making, we missed the true differentiator that has provided us that tax status in the first place: Our bottom line of making a difference.

Our key differentiator is not our tax status, but that our dedication to making a difference is embedded in the very structure of how we operate. There’s a thought that we need to run “more like for-profit companies” (and in some ways we do, but the blanket directive is an ignorant miss). But look around. For-profit companies are actually trying to be more like us in the sense that they want audiences to know that they stand for something that makes the world a better place.

 

4) Communicating nonprofit status is critical in order to make the case for support (but it is a secondary communications goal)

When people don’t know that we are nonprofit organizations, it is a lot more difficult to secure members and donors. For that reason, we do need to better communicate our need for support. But perhaps before we ask for support, we need to do a better job showing the world what supporting us means. In other words, the lack of knowledge about our need for support may be indicative of a long-term communication and programmatic failure.

We educate. We inspire. We connect. We conserve. We teach. We change the world, one mind at a time. But perhaps the misconception about the need for support stems from our own communications focused not around how we change the world, but how we don’t change the world: “Visit!” “Discount!” “New exhibit!” Those messages are important, but are they most important? After all, can we blame the market for not knowing that we are nonprofit organizations if we bury the missions and ideals that are the foundation for our existence in more commercial messages and programs?

 

Fewer than half of U.S. audiences are aware of the nonprofit status of cultural organizations. That’s a big deal, because it makes it harder to secure support. But it’s also a good reminder that audiences are increasingly sector-agnostic, and our competitive advantage may not be our tax status, but what our tax status means: That we are here to change the world.

 

Like this post? Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page. Or for more regular sharing of nonprofit marketing information, follow me on Twitter.

Posted on by Colleen Dilenschneider in Community Engagement, Fast Facts Video, Financial Solvency, Fundraising, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 1 Comment

Why Your Visitors Are Not Buying Tickets Online (And Why It May Be Your Fault)

Ticket sales cartoon

“We added online ticketing to our website…so why aren’t more people buying their tickets online?”

This question seems common among certain leaders in museums and visitor-serving organizations (generally, because it’s true). Unfortunately, it also seems to have found a life as a shortsighted, defensive rationale for not investing in web-based platforms to engage visitors. Perhaps it hasn’t occurred to these leaders that the market is no dummy – simply deploying online ticketing doesn’t necessarily mean that the market will be inclined to actually use it.

Museum high propensity visitors profile as being “super-connected” with access to the web at home, work and on mobile devices. They use social media and online platforms to make visitation decisions. So why aren’t a vast majority of visitors buying tickets online to most organizations?

Because while you may think that you’re making life easier for your potential visitors by selling tickets online, many organizations actually make the act of purchasing a ticket a more expensive and/or more cumbersome process for their would-be visitors. While it’s inarguably “better” and more efficient for an organization to have the market avail itself of online ticketing, until the benefits of buying tickets online outweigh the costs (in terms of both convenience and currency) most people won’t do it. Here are four common conditions that may create needless barriers to your market purchasing a ticket online:

 

1) It is impossible (or exceedingly difficult) to purchase tickets via mobile platforms

Mobile web is among the fastest growing communication channels.  According to Pew Research, 56% of American adults have a smartphone and 29% of cell owners describe their phone as “something they can’t imagine living without.” 34% of mobile users go online mostly using their phones (as opposed to another device such as a desktop or laptop computer). On top of all this, more than 5 billion people will use mobile phones by 2017.  This is all a long way of saying that smartphones play an increasingly critical role in motivating and facilitating museum visitation decisions. If your potential visitors cannot easily purchase tickets on a mobile platform, then you’re missing a critical opportunity to act in your visitors’ interests…and you’re making it hard for them to act in yours.

 

2) Purchasing tickets online is time consuming, and perhaps more cumbersome than applying for a mortgage

I’m exaggerating…kind of.  Have you ever tried to purchase a ticket on your own website? If yours is like the ticket buying interfaces of many visitor-serving organizations, then this is an elaborate, multi-click process that requires digital maneuvering between websites and a seemingly never-ending array of repetitive requests for personal information.

I’ll quote myself from a previous post on the matter: For many organizations, selling admission is a critical component of their financial plans. We live in a world where you can buy an airline ticket from San Francisco to Tokyo on a smartphone in less than 60 seconds, but it frustratingly requires five long minutes to purchase a ticket to some museums on the same device.

Some organizations have entered into long-term agreements with ticketing providers and are apt to shrug their shoulders and excuse their bad practices by saying, “Well, there’s nothing that we can do about online ticketing. We have a contract.” As a reminder: To the market, this is a “you” problem. The market doesn’t know that you’ve signed a contract with a company that doesn’t meet your needs – only that you’re not meeting theirs. (Which is especially strange when you consider that in this situation, their interest is to act in your interest!)

 

3) It costs more to buy tickets online than at the gate

Speaking of entering into long-term agreements with ticketing providers, many of them take a cut of online ticket sales or require a fee that is, in turn, imposed upon your visitors so that they must (quite literally) pay for your organization’s decision to engage with the ticketing provider. To organizations perhaps less concerned with their customer service standards, this may sound like a problem for the visitor (“Hey, this is what happens if you want to buy tickets online”). Smart organizations, however, realize that such fees present a significant barrier to entry.

Many organizations are very deliberately priced so as to maximize revenue without “leaving money on the table.” The market is very sensitive to pricing. The market reacts differently to a price point of $19.95 than it does to $21.95 – and the fees charged by ticket providers may well exceed the threshold at which your market finds value in your admission price. Organizations that charge additional fees for online transactions may unintentionally undermine their otherwise sound, research-based pricing strategies.

 

4) Your museum has likely trained people to buy tickets at the door

Thanks to newly designed (or renovated) facilities, improved wayfinding, and efficient entry procedures, visitor-serving organizations have become quite good at enabling hassle-free onsite access…and this relative ease of access also erodes one of the potential incentives of buying a ticket online (i.e. the convenience of buying online as opposed to waiting in line).

Many visitor-serving organizations have actually trained visitors to simply show up with a reasonable expectation of buying a ticket and gaining access to facilities with a minimum amount of wait time.  Think about it: If you’ve visited a museum time and again and never encountered a significant wait or been denied access due to a sell-out, would you alter your behavior without reason?  Now, add to this learned behavior the various disincentives of higher ticket prices due to online fees and the inconvenience of trying to purchase a ticket on your smartphone, and it is no wonder that some organizations struggle to meet their online sales goals.

The good news? If your organization wants to increase online ticket sales, these conditions are subject to improvement. You absolutely can increase online ticket sales – if you are willing to consider the transaction from the perspective of your audience. The big takeaways: Executing strategic initiatives on online platforms aren’t simple IT functions, and certainly don’t operate on an “if you build it, they will come” basis. Like absolutely everything else related to your organization, if you aim to inspire action online, you must consider overall market perception, behaviors, and incentives. 

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page (or Google+) Or for more regular sharing of nonprofit marketing information, follow me on Twitter

Posted on by Colleen Dilenschneider in Community Engagement, Digital Connectivity, Nonprofit Marketing, Trends 2 Comments

Five Characteristics That Differentiate Museum and Performance Arts Visitors From The General Market (INFOGRAPHIC)

Today I am breaking my “post every-other-week” rule to share with you a simple infographic that I’ve made with the data compiled in last week’s post on the attributes of high propensity visitors. This is the first image that I’ve tried to make with any kind of IMPACTS data, so let’s see what you all think… Please feel free to share, tweet, pin, and post this infographic if it is helpful to you!

Expect a fresh post as usual on Wednesday of next week and please enjoy this image and data in the meantime:

KYOB IMPACTS High Propensity Visitors Inforgraphic

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page (or Google+) Or for more regular sharing of nonprofit marketing information, follow me on Twitter

Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Nonprofit Marketing 8 Comments

High Propensity Visitors: The True Attributes of People Attending Museums and Cultural Centers (DATA)

High Propensity Visitors IMPACTS

High propensity visitors (HPVs) are the lifeblood of a visitor-serving organization – they keep the doors open for zoos, aquariums, museums, theaters, symphonies, botanical gardens, etc. – and, accordingly, I talk about them frequently both on Know Your Own Bone and during speaking engagements. But what are some of the attributes that indicate a likelihood of visiting these organizations? Data indicates several prominent attributes of high propensity visitors…and I am thrilled to dig a bit deeper in sharing some qualities of the HPV.  

What is a high propensity visitor and why are they important?

A high propensity visitor is a person who demonstrates the demographic, psychographic, and behavioral attributes that tend indicate an increased likelihood of visiting a visitor-serving organization. Research both identifies and “weighs” the respective value of these (demographic, psychographic, and behavioral) markers to quantify these attributes that best suggest a propensity to visit. In a nutshell, these are the people with whom your organization’s “bread is buttered.” These folks are absolutely the most critical audience for both immediate and long-term solvency for your visitor-serving organization.

Think data is only good for telling us “Information 101” like gender, ethnicity, household income, and education level? Or that when I describe an HPV, I am imagining some makeup of these largely demographic statistics (i.e. “An HPV is a white woman between 35-54 with an annual household income greater than $65,000?”) Think again. While certain organizations may have a “prototype visitor” that is this cut-and-dry, this type of segmentation is far, far too oversimplified to truly convey meaningful information about your HPVs. In actuality, this demographic information teams up with psychographic and behavioral information to paint a more accurate, complete portrait of the characteristics that indicate your likely visitors.

While acknowledging that there are multiple indicators of an HPV and that, at times, the specific make up of an HPV differs from entity to entity, the following five attributes are generally reliable across the board:

1. High propensity visitors are super connected

super connected 3HPVs have broadband access at home, work, and on at least one mobile device. In fact, these folks acquire information regarding leisure activities almost exclusively via web, social media, and peer review (i.e. Yelp, TripAdvisor) platforms – further underscoring the importance of investing in web-based communications for visitor-serving organizations. HPVs are approximately 2.5x more likely to be “super-connected” than the U.S. composite market.

2. High propensity visitors are pet owners

pet ownerThe people visiting your organization have a higher likelihood than the general population of being a pet owner.  They are also 12x more likely than the general population to own a horse for leisure/hobby (amateur) use. Put another way, not all HPVs own a horse…but those who own horses have a particularly high likelihood of being the kind of person who visits zoos, aquariums, museums, and music and theater performances. HPVs are approximately 2x more likely to be pet owners than the U.S. composite market.

 

3. High propensity visitors are foodies

foodieWe know that the perception of a critical mass of opportunity (such as access to unique shopping, urban waterfront, etc.) plays a role in motivating leisure activities – but for HPVs, access to good food also plays an important role. HPVs are leisure-travel motivated for fine dining and wine experiences. They also have daily food and beverage spending of $72.43 a day per capita. HPVs are approximately 2.5x more likely to be “foodies” than the U.S. composite market.

 

4. High propensity visitors are foreign travelers for leisure purposes

foreign travelThis is a big one. Folks who invest in foreign travel for leisure purposes have a very high likelihood of also being the same people who visit cultural centers. This is perhaps a very important consideration when endeavoring to understand the extreme competition for HPVs – for many museums, you are not merely competing with baseball games and movies for your audience.  HPVs are literally considering the world as it contemplates its leisure investments. The most popular destinations for HPVs include Europe and British Columbia (often, for skiing). Their average length of stay during foreign travel is six nights.  HPVs are approximately 6x more likely to be foreign travelers for leisure than the U.S. composite market. 

 

5. High propensity visitors are low intensity outdoor activists

HikingPeople who hike, ski, or golf  are also more likely to profile as the type of person to attend a visitor-serving organization or cultural performance. HPVs are approximately 3x more likely to be low intensity outdoor activists than the U.S. composite market.

 

Understanding these items helps organizations engage audiences

When we look at data and consider market trends, we pay special attention to the evolving behaviors, attitudes, and demographics of high propensity visitors. This information can help us market to folks with the greatest likelihood of visiting cultural centers, and also create programs and experiences that are most satisfying to these individuals. These are the people who reliably keep our doors open with their attendance, and also have tremendous opportunity to deepen their engagement with our organizations as members and donors.

Thinking of your visitors in terms beyond their demographics lends invaluable insight to our understanding of our audiences.  HPVs are the leading empirical indicator of the audiences that we are serving, and the people with whom we are best engaging.

 

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page (or ) Or for more regular sharing of nonprofit marketing information, follow me on Twitter

Photo credits: JapanPulse

Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Nonprofit Marketing Comments Off on High Propensity Visitors: The True Attributes of People Attending Museums and Cultural Centers (DATA)

Leisure Activity Motivation: How People Decide to Attend Your Museum or Visitor Serving Organization (DATA)

MET museum

When it comes to motivating attendance, data suggest that offerings outside of your visitor-serving organization’s walls often play a greater role than what is inside.

Wondering why you’re not getting more people through the door of your museum or performing arts event? It could be due to many factors – both internal and external. Often, visitor-serving organizations (VSOs) get wrapped up in their own content and confuse the role that these offerings play in motivating visitation. Namely, they think that their own content or visitor experience plays the primary motivational role. However, data indicate that an organization’s own, internal offerings generally matter less to visitors than does the market’s perceptions of the surrounding macro-environment when it comes to motivating leisure visitation.

The chart below (featuring data collected by IMPACTS) illustrates findings related to leisure activity motivation. In other words, it demonstrates the primary motivators that determine how the market decides what to do with its leisure time. (The x-axis demonstrates the percent of respondents identifying that aspect/activity as a primary motivator. Respondents with multiple primary motivators are also represented.)

IMPACTS leisure activity motivation

This data features several, key takeaways for visitor-serving organizations:

 

1) “Critical mass” plays an important role in motivating leisure activity

“Yeah, yeah – VSOs in bigger cities have more people around and thus usually get more people to come through the door,” you’re probably thinking…but there’s more at play here than one might initially think. Major metro markets contain a density of attributes and experiences such as the ones indicated on this list. However, data suggest that in terms of motivating leisure activities, some markets have stronger, “standalone” motivators than others and merely being a major metro market can be a less enticing draw than possessing a mix of other attributes. A certain way to ensure that your organization is being considered as a viable destination is to be surrounded by a core, critical mass of other leisure opportunities. Consider the Monterey Bay Aquarium (to mention a frequent example for me): Monterey itself is not a major metro market, but the aquarium’s proximity to the waterfront, unique dining, golfing, and other specific opportunities create a density of experience that makes the location a viable leisure destination. In other words, the combination of these attributes – coupled with the appeal of the aquarium – are enough to motivate people to travel 2.5 hours from a major metro market (San Francisco) to visit the aquarium.

 

2) More than ninety percent of people need external motivators in order to attend your museum or performing arts event

Visitor-serving organizations may overestimate the motivational qualities or singularity of their own offerings in driving activity motivation. The modest influence that visiting a museum (9.9%), a zoo, aquarium, or science center (8.9%), or a performing arts event (4.2%) has on the leisure decision-making process is relatively low when compared to the influence of other visitor experiences or destination attributes. This means that more than 90% of people need additional, external motivators to enter your marketplace. A museum could put a visit to a destination over the top, but it’s generally not a primary motivator. This makes sense when contemplating the opportunity trade-offs attendant to leisure decisions: Visiting Aunt Janet sounds great – but if you could visit a major metro with unique shopping near the water – and visit a museum – you might make a different decision (and maybe even bring Aunt Janet)!

 

3) Who people are with still often beats what they are doing

The highest primary motivator of leisure activity is visiting friends or family (70.4%). This mirrors other data supporting the finding that who visitors are with often means more than what visitors see when they go to a museum or other type of visitor-serving organization. This is worth extra attention, as the greatest motivator according to the market is not tied specifically to a physical aspect or feature of a destination, but rather the draw of being with loved ones.

 

4) What is good for your city in terms of increasing critical mass is also good for your organization

This is the essence of the “rising tide lifts all ships” theory of visitor engagement. Organizations that see other activities or experiences as competition for their potential audience’s time may be missing the mark. It may go without saying, but communicating the availability of unique shopping and dining, celebrating historic assets within your community, and highlighting hiking, swimming, golfing, or other activities that take place outside your walls also helps you better engage your own visitors.

Occasionally, museums and other visitor-serving organizations want to “silo” their organization as a more influential, standalone experience – a perspective that may be incongruent with the way that the market contemplates its leisure investments. Organizations should be careful to not forget that before a visitor can engage with your content they must first choose to visit your destination. Your visitors’ experience is often connected to the other experiences around you that make up their day. Promoting the robustness and vitality of neighboring organizations and the macro community is increasingly a wise strategy to maximize visitor engagement.

 

Quick note: I am pleased to be bouncing into Salt Lake City on October 12th to deliver a WestMusing: 10 Minute Museum Talk at the Western Museums Association Annual Meeting closing ceremony before hopping on the plane back to London! I’m thrilled to be delivering the talk alongside four great brains. If you’ll be there, come say hi or connect via one of my social channels!

Interested in getting blog posts, tips, and some silly social media geekery periodically delivered in your Facebook newsfeed? Like my Facebook page (or ) Or for more regular sharing of nonprofit marketing information, follow me on Twitter

 

*Top photo credit to nypress.com

Posted on by Colleen Dilenschneider in Community Engagement, Financial Solvency, IMPACTS Data, Myth Busting, Nonprofit Marketing 1 Comment

Entertainment vs Education: How Your Audience Really Rates The Museum Experience (DATA)

museum experience flickr

When considering the overall satisfaction of visitor-serving organization (VSO) attendees, data indicate that not all aspects of the experience are created equally. In fact, the individual components that collectively comprise a visitor’s onsite experience may run counter to many VSO’s differentiation and engagement strategies. In terms of maximizing visitor satisfaction, VSOs may not truly understand “where their bread is buttered,” and this misunderstanding may result in serious financial repercussions.

IMPACTS gathers data to inform the development of key performance indicators concerning 224 visitor-serving organizations (zoos, aquariums, museums, theaters, symphonies, etc.). One of the key performance indicators that we regularly quantify for specific organizations is “overall satisfaction.”  Overall satisfaction is a composite metric (i.e. a metric informed by a multiplicity of data inputs yielding a single output) that contemplates 10 source evaluation criteria (e.g. employee courtesy, admission value, retail, etc.)

In developing the overall satisfaction metric, IMPACTS doesn’t weight each evaluation criteria equally because the market isn’t influenced by each criterion equally. As indicated in the table below, the market determines the “weight” of individual criteria based on each criterion’s relative contribution to the visitor’s perception of overall satisfaction.  (The formula to calculate the respective weight of any individual criteria contemplates such factors as frequency of mention and strength of conviction.  The overall satisfaction metric updates in “near real-time” based on the most contemporarily available data so as to accurately reflect seasonal influences on the visitor experience.)  Perhaps most interestingly, in my observation, the weight of any single evaluation criteria tends to vary very little between organizations.  In other words, please don’t make the mistake of assuming that your organization is somehow indemnified from the implications of this data because you’re a symphony…or an aquarium…or a museum.  The data simply doesn’t support any notion of “exemptions” for certain types of VSOs.

IMPACTS Overall satisfaction by weighted criteria

These weighted values may be used to inform resource allocations to maximize overall satisfaction (which data indicate are critical for securing positive word of mouth, repeat visitation, etc.). The values may also inform marketing strategies for museums so that they may best communicate the educational experiences that they…oh, wait…

Well, this is awkward.

 

1. Museums may overvalue educational assets as a differentiating factor positively contributing to visitor experience.

Unfortunately for many museums’ social missions, visitors indicate that the quality of an organization’s “educational experience” matters relatively little to overall satisfaction. Many of you may have – at some point or another – heard of/been involved with a museum leadership team that is convinced that it cannot fail because of the number of academic minds at the helm that are working to further the museum’s superstar educational opportunities. Regardless of the organization, I’ll bet that they are either strapped for cash and/or rely disproportionately on public funding or grant and contributed income – which means that in the world of “Museum Darwinism” (or heck, according to the plain old rules of economics), these museums may be at financial risk.

Data suggest that museums may not be looking in the mirror clearly when it comes to understanding the value of their educational assets. Will you be a successful organization (in terms of market relevance and long-term solvency) if your greatest experiential asset is your mastery of first-rate, dissertation-worthy, you-get-a-master’s-degree-equivalent-in-a-visit content? Sadly, no. The market is the ultimate arbiter of your organization’s success, and the data suggest that even the most educational VSO risks relevance if the experience isn’t entertaining…

Oy. I said the other “E”-word…

 

2. Deny being an entertaining entity at your own risk.

As nonprofit organizations with valuable social missions, we can get rather feisty when someone compares our entity to Disneyland…and museums aren’t Disneyland for all of the important reasons that drawing that comparison probably makes nonprofit stakeholders squirm. That said, the market attributes a higher value to “entertainment experience” than any other criteria – even the overall satisfaction summary (“sum of its parts”) metric!

Organizations that try too hard to promote education at the expense of providing an entertaining experience are truly missing the mark. Remember: your organization only has the opportunity to communicate what is important after the market dubs you relevant. If nobody wants to visit, then nobody is going to participate in the educational experience that you are trying so hard to perfect.

 

3. Education and entertainment are not mutually exclusive. Aim to be BOTH but understand how each aspect individually contributes to your reputational and experiential equities and strategize accordingly.

Knowledge is power, right? If you didn’t know it (or at least suspect it) already, you do now: the market at-large cares comparatively little about the super-specialness that is your educational experience. And that’s sad for museum leaders…but the weighted value of “entertainment experience” isn’t necessarily bad for museum leaders. The knowledge of this data may make VSOs more prepared to serve both functions effectively or, better yet, make educational experiences more entertaining.

The trick may be to understand the role that each of these aspects plays within the market – and what that means for your organization. On one hand, many VSOs are nonprofit organizations with a mission to educate and some research has shown that seeking an educational experience may justify a visit for some. However, the market considers “educational experience” a relatively small piece of the overall satisfaction puzzle when visitors actually have their onsite experience.

Considered collectively, I think that it may prove worthy to further parse the differences between motivation and justification.  I observe a compelling abundance of data that suggest that entertainment is the primary motivation for a visitor experience, whereas education is often cited post-visit as a justification for having visited.  In other words, all being equal, the public will often choose an experience with an educational component over “pure entertainment” – provided, of course, that all is actually equal!  Education will not compensate for a deficiency of entertainment.

Henry David Thoreau (a personal favorite who receives a hat tip for my blog title, Know Your Own Bone) advised, “When a dog runs at you, whistle for him.” The power of this data comes in embracing the findings rather than trying harder to deny them.  Let’s strive to be the most entertaining educational entities possible.

After all, who decided that “entertainment” was the enemy of “education” anyway?

 

*Photo (and cute kid) credit belongs to Flickr user Jon van Allen

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Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution 11 Comments

Non-Nuclear Proliferation: Who is REALLY Visiting Museums Nowadays?

family visiting museum

Is your nonprofit or museum still operating under the assumption that most of the folks visiting zoos, aquariums, museums, and performing arts venues are doing so with their nuclear families? Think again. Data concerning visitor-serving organizations (VSOs) reveals that travel party constructs have evolved. While only seven years ago a majority of visitors attended VSOs with their nuclear families, the majority are now visiting with significant others.

Why does this matter? Well, if you don’t know who your audience is, then it is more difficult to target them or retain their support. And keep in mind: Your “audience” is a dynamic group comprised of both online and onsite persons, as well as would-be and actual visitors alike. In other words, just because you are marketing your nonprofit to families and households with children doesn’t necessarily mean that they comprise the majority of your audience.

In fact, my colleagues and I at IMPACTS have observed this evolving reality within many of our client VSOs.  Several clients who have been predominantly marketing to their perceived, “traditional” base (i.e. the nuclear family) have had to adapt their engagement strategies to recognize the emergence of persons who visit without children.

To illustrate this change, I’ll present two sets of data: one for the U.S. composite audience (which includes travel party construct data for a representative sample of the total US population), and another for high-propensity visitors (HPVs, or those persons possessing the demographic, psychographic, and behavioral attributes that tend to suggest an increased likelihood to visit a VSO). One quick note: The data represent “discretionary consumer behaviors” – that is to say, it does not contemplate educational groups, field trips, and other group-motivated activities.

Let’s start by examining the change in travel party constructs for the overall U.S. population:

IMPACTS US Composite Visiting Party Construct

 

Notice that the dominant travel party construct has changed from “with family” to “with spouse.” Currently, nearly 50% of the overall U.S. population visiting a VSO is doing so without a child (quantified above in the “By self” + “With spouse” + “With friends” categories). This same cohort grew by 11% during the relatively brief tracking period!

Now let’s take a look to see with whom high-propensity visitors (HPVs, or, the folks that largely butter your bread) are attending organizations…

 IMPACTS HPV Visiting Party Construct

For HPVs, we witness a similar decline of people visiting with children…and, keep in mind, this behavior is amongst those persons most likely to visit your organization in the first place! Here are four noteworthy takeaways from the data:

1) The number of families attending VSOs has decreased

During the quantified duration, VSOs experienced a 10% decline in family visitation (from 41.8% in year 2006 to 37.5% in year 2012) and a 13% decline amongst HPV families.  Part of this decline relates to our evolving demography – there is a corresponding decline in “birth over death rate” amongst the educated, affluent populations that have historically comprised many VSOs core audiences.  Fewer children means fewer “traditional” families…so if your VSO’s primary selling point is “great for the kids,” then you may expect to see a fall off in your attendance numbers.

2) The number of folks attending VSOs as couples has increased

Among the overall US population, the percentage of people visiting VSOs with their spouses or significant others increased 14% during the assessed duration.  For the same period, “HPV couple” visitation increased by 10%.

Many organizations are observing this increase in “couples” visiting VSOs and are tailoring their marketing efforts accordingly.  At IMPACTS, we are often tasked by clients to assess the relative “favorability” (i.e. do people “like” the campaign) and “actionability” (i.e. how likely is the campaign to motivate visitation) of potential advertising campaigns, and what we increasingly find is that while “family-centric” advertising may risk engaging adults without children, more couples-focused messaging generally does not alienate family audiences.  Why?  The market has an intrinsic understanding that many VSOs are well-suited for families and children… often the “break-through” market for additional engagement is couples without children.

3) Grandparents are the new babysitters

Grandparents are increasingly important decision-makers when it comes to bringing a child to a VSO.  This may be symptomatic of more dual-income households or of a broader societal trend toward more grandparents raising their grandchildren, but the prominence of grandparents as both heads of households and proxy parents is clear.  Many VSOs have acknowledged this trend by re-imagining their family membership programs to be more contemplative of grandparents.  Other organizations are adjusting their marketing and communication techniques to better engage this growing market segment.

4) The evolution of the travel party construct is not a museum phenomenon, but a reflection of the overall market

When you consider all of the data, the shifts that we’re observing in terms of travel party construct aren’t at all surprising.  Rich, white folks – who still make up a substantial number of HPVs  – are having fewer children. From a societal point of view, the traditional “family” has undeniably evolved. Baby boomers – another demographic that has a high percentage of traditional HPVs – are bringing their grandchildren to their favorite museums, operas, and botanical gardens.  And, of course, the Baby Boomers are a huge generation – so a corresponding increase in people visiting with grandchildren makes chronological sense. Generation Y – the largest generation of all  – is taking over the market, having children later in life (and, thus, are more likely to visit with friends or significant others), and also having children out of wedlock (and, thus, are more likely to visit without a spouse).

 

At IMPACTS, we develop specific data for our VSO partners and it yields very similar findings across the board. In nearly every case, the organization is a tad surprised to learn that while they had their noses to the grindstone, the world turned. These changes affect not only how VSOs target audiences for marketing purposes, but also how they cultivate members, gather financial supporters, create appropriate programs, and engage with online and onsite audiences.

Still not a believer? Though the percentage of movement may seem small, it is indicative of a significant trend. If you can, take a moment to visually survey your current visitors. Suddenly, you may realize that the world is changing and it’s taking your museum with it.

 

*Top image photo credit belongs to Margaret Middleton’s On Exhibit

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Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends Comments Off on Non-Nuclear Proliferation: Who is REALLY Visiting Museums Nowadays?