How Annual Timeframes Hurt Cultural Organizations

Some cultural executives still aim for short-term attendance spikes at the expense of long-term financial solvency – and they Read more

Special Exhibits vs. Permanent Collections (DATA)

Special exhibits don’t do what many cultural organizations think that they do. If fact, they often do the opposite. Read more

Eight Realities To Help You Become A Data-Informed Cultural Organization

Is your organization integrating market research into strategic decision-making processes yet? Here are eight important things to keep in Read more

A Quarter of Likely Visitors to Cultural Organizations Are In One Age Bracket (DATA)

Nearly 25% of potential attendees to visitor-serving organizations fall into one, ten-year age bracket. Which generation has the greatest Read more

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

Museums

Special Exhibits vs. Permanent Collections (DATA)

Special exhibits don’t do what many cultural organizations think that they do. If fact, they often do the opposite.

The prospect of hosting special exhibits – and blockbuster exhibits, in particular – often makes exhibit-based cultural organizations excited. They sound cool! They spice things up! They are temporary so it makes visitation urgent! It’s new content upon which to underscore expertise! What’s not to like?

A whole bunch, actually.

Hosting special exhibit after special exhibit – and, especially, so-called blockbuster exhibits – often results in more long-term damage than dinero for cultural organizations. I’ve previously shared information about the phenomenon of “Death by Curation” (also known as “Blockbuster Suicide”). Essentially, data suggest that blockbuster exhibits often create a negative cycle that challenges the solvency of the visitor-serving organizations that come to rely upon them as a primary audience engagement strategy.

This flawed, unsustainable strategy finds organizations over-reliant on visitation from special exhibits – rather than their permanent collections – in order to (hopefully) achieve their attendance and financial goals. It’s no secret that a true blockbuster exhibit can boost a museum’s attendance to record levels. However, a “blockbuster” is rare, and the fact that these blockbusters spike attendance so dramatically is an important finding: Blockbusters are anomalies – not the basis of a sustainable plan. It’s another example of our getting so excited about short-term visitation spikes that we forget to zoom out longer than our annual timelines in order to see what is really going on.

Death by Curation happens a lot, but we don’t often talk about it within the exhibit-based cultural industry. I’m not in the business of calling out individual organizations, but if you think of organizations that have fallen on hard financial times, you may note the frequency with which Death By Curation plays a role in their respective struggles. Death by Curation is the business of staking your reputation and attendance goals on a stimulus that will by definition soon leave your organization. It’s the business of making arguably your organization’s best reputational equities ephemeral. It’s pouring sacred budgeting resources into building affinity for a special exhibit rather than a meaningful destination – your organization.

Essentially, Death by Curation happens because organizations focus on special exhibits at the expense of their permanent collections. We put a lot of endorsement energy and marketing expenditures around special exhibits and that makes sense. Special exhibits often cost quite a bit to actualize, and there is an understandable want to aggressively promote them in the hopes of recouping our investments. That doesn’t mean it’s the right thing to do. Data suggest that an organization’s permanent collections – perhaps more so than special exhibits – matter in terms of overall organizational wellness and sustainability.

The data below contemplate the perceptions of visitors to six visitor-serving organizations that recently (since January 2014) featured a separately ticketed special exhibit in addition to their regular, permanent collections.

Some important numbers before we dive in: The data indicate that 31.7% of visitors only visited the special exhibits – regardless of if their special exhibit admission included access to the permanent collection. This means that though they may have had access to the permanent collection, they report simply visiting the special exhibit and then leaving. Additionally, 34.9% of folks reported visiting both the special exhibit and permanent collection, and 33.4% of visitors reported visiting only the permanent collection.

The special exhibits are different and the organizations are not all of the same “type” (i.e. all history museums). However, they are all exhibit-based. (Performance-based cultural organizations can eat popcorn on the sidelines here. A form of Death By Curation may reasonably apply to performance-based organizations as well, but I do not have apples-to-apples data to make a comparison.) I also want to mention that these six organizations did not take on the same exhibit so as to preemptively address a possible defense against critical thinking: “There’s no way this applies to my organization!”

Let’s take a look at visitor perceptions concerning (a) value for cost; (b) overall satisfaction; and (c) intent to re-visit within one year. Let’s look at value for cost measures first, because this outcome may be the least surprising and it serves a bit like required reading prior to digging into our next two charts.

The value for cost metric measures, essentially, how much bang a person believes that they got for their buck. You will note that value for cost perceptions are reliably lower for those who purchased the separately ticketed special exhibit – and this, too, makes sense: The special exhibit costs more!  However, this metric is not a measure of cost but rather of perceived value – so the goal is for visitors to perceive high value for cost regardless of the expense. In other words, this metric allows that a visitor may perceive a premium experience with a premium cost more favorably than a lower cost, lesser experience. What organizations often forget when they charge an extra fee is that it increases the expectation of an experience worthy of that additional expense.

Another item of note is the generally minor change in value for cost between those who only saw the permanent collection and those who saw both the permanent collection and the special exhibit. This may be surprising, as organizations might guess that someone who saw both permanent and special exhibits might have much higher value for cost perceptions than those who only saw the permanent collection. Depending on the visitor’s perception of the special exhibit, the exhibit risks disproportionately influencing their perceptions and kicking down the value for cost perceptions of those who saw both the special exhibit as well as the permanent collection.

You will note that overall satisfaction is essentially similar among people solely visiting either the special exhibit or permanent collection. Overall satisfaction is 1.18% higher among those who only visited the permanent collection. As previously noted, this is likely due to the role that value for cost plays in the market’s contemplation of overall satisfaction (i.e. lower value for cost perceptions tend to demean overall satisfaction).  In no case are either the value for cost or overall satisfaction metrics less among those who visited the permanent collections when compared to those who only visited the special exhibit.

These data should perhaps give you pause and encourage some consideration. Intent to re-visit for those who only visited the special exhibit are dramatically less than indicated for those who visited the permanent collection.  Again, this may make sense: Those motivated to visit primarily by a special exhibit may naturally be more inclined to wait until the next special exhibit before re-visiting…and the next special exhibit may not open within the next year. This is one of the negative side effects of special exhibits (all the more magnified when we pour a lot of marketing resources into them): We tie intent to re-visit to temporary experiences and thus encourage potential visitors to wait until we have another one to come back. We invest significant resources in underscoring that our special exhibit is indeed the most “special” experience we offer, and then we are surprised when the market believes us and behaves accordingly.

Death By Curation – and an over-reliance on “bigger and better” special exhibits in general – takes its toll on exhibit-based cultural organizations on the whole. It’s the prevalence of the practice of Death By Curation that “nothing new to do or see” is a top reason why people who have reported specific interest in visiting cultural organization’s don’t make it through the door! It is so common that it is a popular reason for not attending cultural organizations. In many ways, we’ve trained the public to believe that our special exhibits are more special than our organizations on the whole – possibly even more important than our missions and the reasons why we exist. We may be sabotaging one of our biggest reputational advantages: That cultural organizations are more than attractions, and that they can and do change communities and the world.

Special exhibits can do good things, of course, when they are carefully considered beyond the quick hit of a temporary attendance spike that comes at the expense of long-term visitation. And perhaps “It’s time to think about our next special exhibit” shouldn’t be a second-nature thought for cultural executives. Perhaps it’s better to think, “What’s the best thing that we can do to walk our talk in terms of who we are and what we stand for?” Sometimes the answer is a special exhibit. However, I’d like to propose that perhaps it’s not the only answer…or, even, a frequently appropriate response.

Chasing audiences with special exhibits – and especially blockbuster/blockbuster-wannabe exhibits – isn’t generally sustainable in the long-term. It also calls to question the total costs of developing and actualizing these exhibits as a means of engaging visitors – including the costs to promote them – when compared to potential alternative uses of the same funds. There are many other proven ways to increase visitation that may be more sustainable than tying visitation to special exhibits.

Consider this: Perhaps what is special is what lives inside of your organization. Building affinity for specific items in a permanent collection may be an underrated move. Items in your permanent collection stand for who you are, and not simply what might be hot right now.

 

Like this post? Don’t forget to check out my Fast Fact videos on my YouTube channel. Here are a few related posts from Know Your Own Bone that you might also enjoy:

 

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Posted on by Colleen Dilenschneider in Community Engagement, Financial Solvency, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends Leave a comment

A Quarter of Likely Visitors to Cultural Organizations Are In One Age Bracket (DATA)

Nearly 25% of potential attendees to visitor-serving organizations fall into one, ten-year age bracket.

Which generation has the greatest percentage of folks who profile as likely visitors to cultural organizations? That’s the focus of this week’s Know Your Own Bone Fast Facts video. The answer might surprise you.

…Or, maybe the answer WON’T surprise you, given all the recent talk about the importance of engaging millennials for visitor-serving organizations such as museums, zoos, aquariums, science centers, performing arts entities, and even national and state parks. Certainly, a subset of millennials cannot possibly take the cake as having the most people who are likely visitors! Au contraire. As it turns out, we millennials really do our best to be ever worthy of attention.

A high-propensity visitor is a person who has the demographic, psychographic, and behavioral attributes that indicate an increased likelihood to visit a cultural organization. In other words, these are the people who are most likely to actually walk through our doors. It’s may be challenging for some of us to believe, but not everybody who hears the word “history museum” or “ballet” thinks, “Yes! Let’s go!” (or even a less enthusiastic variation of this statement). However, there are folks who are more likely to think this way, and these people are our high-propensity visitors. They are the people who are most likely to visit cultural organizations.

Remember: High-propensity visitors are not the same as historic visitors. People who profile as historic visitors are those with the demographic, psychographic, and behavioral attributes that match those who traditionally visit cultural organizations. Simply, all historic visitors (traditional, actual visitors) are generally included in the high-propensity visitor group (potential visitors), but not all high-propensity visitors profile as historic visitors. To be overly glib, not all likely visitors to cultural organizations are wealthy and white. (Again, that’s an extreme over-simplification, but my hope is that it gives you a sense of the distinction.) In fact, it’s quite the opposite…

Historic visitors – people who look and act like the people that cultural organizations have had success engaging in the past – are exiting the market (e.g. due death, relocation, etc.) at a faster rate than they are being replaced (e.g. via birth, immigration, etc). This phenomenon is called negative substitution. If organizations do not do a better job of engaging emerging audiences with an interest in visiting, it will continue to be a challenge for visitation to keep pace with population growth. We need to get better at engaging new audiences.

In the chart below, the red bar on the left shows the percentage of the US adult market by age cohort as per the US Census Bureau. The blue bar on the right indicates the percentage of adult high-propensity visitors to visitor-serving organizations (VSOs) as informed by the National Awareness, Attitudes, and Usage Study.

This chart is segmented by age rather than by more broad generational cohorts, and that allows us to dig deeper and better understand the particular dynamics of each age group.

Almost a quarter (24.3%) of adult high-propensity visitors in the US were millennials between the ages of 25-34 in year 2016. That is so much millennial potential! And it’s not surprising, really, as I’ve written a great deal about the cultural industry’s millennial engagement opportunity before.

The fact that the greatest percentage of potential visitors falls into a millennial age cohort is a big deal because cultural organizations are not adequately securing millennial visitation. In fact, it’s a bit more of a unique and attention-worthy situation than that…

Simply put, data suggest that millennials are both the most frequent visitors to cultural organizations and also comprise their greatest percentage of overall attendance potential. At the same time, millennials are also the most under-represented generational cohort in terms of visitation. There are simply so many of us that we’re both the cultural industry’s most frequent current visitors that need to be kept happy – and ALSO the generation that organizations must do a better job of attracting. Here’s the data on millennial visitation and the extent to which millennials make up our greatest volume of visitation and yet still are not visiting at representative rates.

Moreover, data suggest that there are other “millennial characteristics” that make this age group a critical target audience for cultural organizations.

Before opening this article, you may have already been thinking something like, “Jeez! It feels like we are slaves to the millennial generation!”  I think that sentiment makes sense. We talk about millennials a lot. (Even I get a bit tired of talking about us and I’m a millennial!) Here are some important things to remember if you’re getting fed up with millennial talk. Most importantly, “millennial talk” is code for “everybody talk.” Perhaps as a result of living in our super-connected world, other age groups increasingly share “millennial characteristics.” Think about it: Millennials are far from the only generation that utilizes the web and values brand transparency and personalization.

Adding all of these factors up might make a non-millennial groan, but it doesn’t make them less important: (1) Millennials are already the most frequent attendees to cultural organizations; (2) They are our most under-served age cohort (as they are not visiting at representative population rates); (3) They are sort of a canary in the coalmine for engagement of all audiences today; and (4) Millennials comprise the highest percentage of high-propensity visitors to cultural organizations.

Yikes! How’s that for being deserving of special treatment?

 

Like this post? Don’t forget to check out my 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, Fast Facts Video, Financial Solvency, Millennials 1 Comment

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 right now.

“Are museums perceived as experts – and are they trusted? To what extent?” These are the questions that I hoped to shine a light upon when I requested a topic-specific data cut on cultural organizations from the National Awareness, Attitudes, and Usage Study. The NAAU is an ongoing study regarding market perceptions of visitor-serving organizations and it currently quantifies feedback from over 108,000 respondents. The resulting data reveal important takeaways for museums today – and specifically underscore an important role that the market expects museums to play. As a heads-up, the data below is cut for the United States market and not only high-propensity visitors. In other words, this isn’t simply “what people who believe in climate change” think about museums.

The data and analysis in this article contribute to several debates taking place in the visitor-serving industry right now from crowd-curated exhibits and the “education vs. entertainment” debate, to implications regarding participation in last week’s March for Science. Knowing how much people trust museums is important information for developing relevant and sustainable organizations. But data reveal that being trusted comes with the responsibility to communicate action and recommend mission-driven behaviors.

Hey museums, you have the superpower of public trust. Like your superpower of being facilitators of shared experiences, you may not even realize the importance of this superpower. Remember: Your organization may declare importance, but the market determines relevance. Here’s what the market thinks about cultural organizations when it comes to credibility, trust, and their duty to the communities they serve.

 

Museums are highly credible sources of information

Aquariums, art museums, history museums, science centers/museums, natural history museums, and zoos are highly credible sources of information. And, as the data indicate, these values aren’t merely “good,” they’re rather fantastic! With values in the upper-seventies, there is a strong level of agreement with the statement “[Entity type] is a highly credible source of information.”

While the strength of the sentiment may or may not surprise you, what is notable are the perceptions of museums as credible sources when compared to NGOs, federal agencies, and even the daily newspaper. Yes, folks, museums are trusted more than the daily newspaper.

The NGO category includes non-governmental organizations that are not museums. The mean values at 64.2 for NGOs and 61.3 for state agencies indicate a relative level of credibility – with perceptions largely influenced by the degree to which the respective NGO or agency conforms to the respondent’s worldview.  For example, no matter what the integrity of the information published by the Natural Resources Defense Council, an avowed climate change denier is unlikely to find the NRDC unassailably credible. Federal agencies (with a mean value of 51.4), represent an even more bifurcated public view – which makes sense in our current partisan condition.

These data tie into the never-ending “education vs. entertainment” priority debate within visitor-serving organizations. It’s a never-ending debate because there isn’t a clear winner. Data suggest that cultural organizations need to be both entertaining and educational in order to succeed, though they play different roles in the visitor experience. It’s also a never-ending debate because – although the two may be unstoppable when they team up – the topic has become stupidly polarizing among some industry professionals. It’s divided within some organizations (e.g. education vs. marketing departments) and outside of them (e.g. topic-experts vs. museum consultants). Again, they play different roles, but we really should write a ‘thank you’ note to whomever invented that silly/awesome word “edu-tainment.” (Anybody know his or her address?)

Entertainment value is critical for an organization’s solvency and success, but organizations that veer too far on the “entertainment” side of things risk losing the reputational equity of credibility. And it’s an area in which museums shine.

 

Museums are trusted

Not only are museums viewed as highly credible sources of information, they are also trusted entities overall. This type of trust is not to be taken lightly, and it’s a testament to organizations that stand by their missions to educate and inspire audiences.

This is important information for all museums contemplated in these data, and it is especially worthy of an extra look for zoos and aquariums. Zoos and aquariums are trusted by the market at-large…and rather significantly so. I point this out because it lends context to some of the debates taking place in the zoo and aquarium world regarding captive animals. Certainly, IMPACTS data reveal stark trend lines regarding perceptions of exhibits such as dolphin shows, but the market at large still largely trusts zoos and aquariums to evolve and make value-based decisions driven by their missions. This is not an excuse for zoos and aquariums not to listen up and evolve alongside market perceptions of “right” and “wrong” (to the extent that they may/may not be evolving). It’s the opposite. It’s a reminder not to let people down.

It may be argued that museums are trusted because they employ and/or consult topic experts and thus provide expert content. That might be it, friends! Regardless: Trusted, they are.

These data also provide aid for thinking about crowd-curated exhibits. The market views museums as expert sources of information. While crowd-curated exhibits certainly can be an effective way to engage the public depending on how they are administrated and actualized, they also risk perceptually undermining a museum’s own hard-earned trust and credibility. Engagement is super great! Engagement that results in a greater loss of equity than the payoff (especially when there are other avenues for engagement) is not super great.

 

Museums are not seen as having political agendas

Here’s how these data fit in with the rest: They underscore that museums are seen as factual and impartial – more so than government agencies and the daily newspaper.

Are museums trusted because they are not seen as having political agendas? Maybe, but you can only stick the landing there if you jump to some conclusions. While I am sharing this alongside trust and credibility metrics, I’m not yet certain of the exact nature of the relationship between being political and being trustworthy as it relates to visitor-serving organizations – and neither are you. (If you don’t have data, then you have an opinion. That’s cool, but it doesn’t count here. Mine doesn’t, either.) There’s more to these values – and they are interesting and worth putting on our thinking caps to explore.

“Political” may understandably correlate with having connection to or trying to influence policy. This may be the reason why aquariums and zoos indicate a higher level of agreement with the statement, despite having lower levels of government funding and more earned revenue imperative than other visitor-serving entities. Some zoos and aquariums encourage audiences to vote in a certain direction (e.g. in favor of plastic bag bans). It makes sense that NGOs may have the strongest perception of having a political agenda – they openly do things like encourage people to fight global warming and feed the homeless. Federal and state agencies being perceived as having a political agenda seems to make good sense, too, from where I stand.

Confidence in cultural organizations took a plunge after the presidential election, and it remains low. The New York Times reports that we are divided in terms of consumer optimism: Some of us have great confidence in the economy, and some of us don’t. Unfortunately, those who profile as high-propensity visitors to cultural organizations largely fall in the “don’t” category. The reason for this dip seems to be concern that organizations are not standing by their missions (e.g. science museums remaining oddly quiet when confronted with “alternative facts” concerning climate change, or concern about board members that don’t support an organization’s mission running the show). In sum, this may not be a matter of “being political,” but rather one of integrity.

Indeed, taking a political stand for the sake of taking a political stand seems like it may be mission drift for most organizations. However, recent happenings suggest that when your mission is pinned against a “politicized” topic, standing up for your mission wins. This is illustrated by the data-informed success seen at MoMA when they highlighted artwork by artists from countries impacted by the original Muslim-majority nation travel ban.

Museums are viewed as impartial entities, and this may be because they are trusted to present the facts with expertise. Where things get messy is when an organization’s very mission becomes politicized. Or perhaps more simply: when facts become politicized.

 

People believe that museums should recommend action

This data set is probably the most important. People believe that museums should suggest or recommend certain behaviors or ways for the general public to support their causes and missions. Got that? People think that it’s the job of museums to recommend behaviors. That’s huge, and it’s likely tied to the combined force of the high levels of trust and credibility that these organizations possess.

Consider that recommending action is not the same as “being political.” Recommending things like cutting down on single use plastics (as a zoo or aquarium may advise) or contributing funding for art programs that an organization carries out (as an art museum may recommend), may not be seen as necessarily “political” to the market, but rather seen as an organization walking its talk in terms of supporting its mission. The data doesn’t specifically support museums recommending protesting (for instance). The data support organizations leveraging the trust that the market has in them to suggest behaviors that underscore their missions – which the market perceives not to be innately political.

Museums are becoming forums for community engagement on important issues related to their missions, and that may be a terrific thing. Museums are heroes for their missions, and there’s incredible potential to lead the charge in helping to actualize these missions. That’s an important superpower – and it’s an enormously humbling responsibility.

Museums, zoos, and aquariums are highly trusted to produce and output content and information. They are viewed as expert, factual, and impartial – more so than government agencies and even daily newspapers. The market – which generally doesn’t like to be told what to do in today’s connected world – is even willing to accept prescriptive recommendations from museums.

Museums are experts. Museums can make expert recommendations, and people believe that they should do just that. To shirk this market-determined capability for influence may be the greatest blow to an organization’s mission of all. Data suggest that museums may play a role in leading us all toward a more educated, connected, and inspired world…if they are willing to take up the calling.

 

(Credit: The header photo on this article comes from the Field Museum’s totally watch-worthy #DayOfFacts video.)

 

Like this post? Don’t forget to check out my 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, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 7 Comments

Why Those With Reported Interest Do Not Visit Cultural Organizations (DATA)

Data suggest that a sizable number of people report interest in visiting cultural organizations…and yet over thirty percent of those same people don’t actually attend. What’s going on? That’s the subject of this Know Your Own Bone Fast Fact video. The video summarizes the takeaways, and I encourage you to give it a watch.

Let’s start here: People who report interest in visiting cultural organizations do not always actually attend. This is because interest in visitation and intent to visit are completely different things. Interest is more theoretical and conceptually removes several key barriers to visitation, while intent forces thought about the more logistical reasons why one might not actually attend. Frustrating as it may sound, those logistical reasons are often the primary reason why folks who profile as likely visitors – and who express interest in attending your specific organization – don’t necessarily pay your organization a visit. Interest is important for organizations to uncover, but it doesn’t measure intent to visit. Intent to visit contemplates the barriers attendant to visitation and a person’s willingness to overcome those barriers within a defined duration. Interest is wishful thinking. (For an example of an “intent to visit” metric in action, check out last week’s post on the public’s intent to visit MoMA after rehanging their permanent collection to highlight artists from countries effected by the original travel ban.) This divide between interest and acting on this interest can be seen in the data below from the National Awareness, Attitudes, and Usage Study.

While nearly 85% of survey respondents report interest in attending a visitor-serving organization such as a museum, zoo, aquarium, or performing arts center, only 51.8% had visited within the past year. Just as interestingly, only 54.2% had visited within the last two years, indicating that those who visit cultural organizations are those who…well, visit cultural organizations. There is a large group of people who report interest, but aren’t attending cultural organizations. The question, then, is: Why not?! In a nutshell, it boils down to a particularly important reason…and it’s one that we cultural organizations may not altogether deeply internalize:

Visitors to cultural organizations are competitive audiences.

While it may sound obvious, despite having interest, those who do not visit may prefer to do something else. Of those folks who reported interest in visiting a cultural organization, but who hadn’t done so within the past two years, the top reason is because they prefer an alternative activity. This may include an activity such as seeing a movie or sporting event, going jogging, bowling, or even enjoying trivia at a bar with friends. Simply put, for a good number of people interested in visiting a cultural organization, there are many other things that compete for their precious time. And, it seems, some of these other things take precedent. Yes, they are interested in visiting, but they would still rather do something else. 

This finding is important because it underscores that there is intense competition for the engagement of people who are willing to leave their homes to do anything at all! These are the same folks being targeted by the film industry, rock concerts, and sports teams. This finding also makes it all the more important for cultural organizations to communicate their brand values and market their unique experiences and missions.

Further underscoring this call to action is the fact that folks increasingly want to stay home. It’s not in your head. You really are hearing more and more about people wanting to stay home and marathon watch Stranger Things, This is Us, or Buffy The Vampire Slayer. (Happy 20th Anniversary, Buffy!) In fact, the number of people who have expressed a preference to stay home during a week off from school or work has increased by 17.3% in the past five years. The amount of people who express a preference to stay home over the weekend has increased by 19.4%. I recently wrote a post that shares the trend data on the increasing preference to stay home during one’s precious leisure time, and that post and data are worth revisiting.

These are big numbers – but all is not lost! Though they may be hanging out on the couch, data suggest that these people are still on the web, talking to friends, and connected to the outside world. There is still an opportunity to engage them if we can compellingly articulate the benefits of our experiences. This is where targeted, personalized communications – enabled by technology – are the key. Reputation plays an important role in driving visitation to cultural organizations, and potential visitors can still play an active role in taking in and sharing word of mouth endorsements regarding cultural organizations. These data point toward the importance of targeted messaging that underscores the unique experience offered by your organization. Remember, though, your mission matters when it comes to increasing visitation as well. The growing “couch contingent” is yet another reason why it is important to make sure that your organization is in agreement on its mission, vision, and brand (this may be especially important in today’s politicized environment), and investing adequately in audience acquisition.

 

In addition to movies, sporting events, and a day at the beach, our competition is increasingly the couch and a remote control. The best thing about competition, though? It raises all of our levels of play. Competition brings out the best in us, so long as we work to separate ourselves from the fray. We can do this by reminding would-be visitors that there is no “at-home” substitute for the wonder, awe, and social connectivity uniquely experienced at a cultural organization.

 

Like this post? Don’t forget to check out my 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, Financial Solvency, IMPACTS Data, Nonprofit Marketing, Sector Evolution, Trends Comments Off on Why Those With Reported Interest Do Not Visit Cultural Organizations (DATA)

MoMA Sees Reputation Boost After Displaying Muslim Artists (DATA)

Here’s what market research reveals about MoMA’s decision to display artwork from artists hailing from the Muslim-majority nations affected by the original travel ban.

Here’s the scene: In early February, The Museum of Modern Art in New York rehung parts of its permanent collection with works by artists from the majority-Muslim nations whose citizens were blocked from entering the United States as a result of the end-of-January travel ban. The action received a lot of press.

Data suggest that high-propensity visitor confidence in cultural organizations is at a low point right now, as it was when MoMA made this highly-visible decision in support of its mission. With some cultural organizations taking stands (e.g. MoMA), some doing what they can to avoid political conversations, and some having the priorities of their board leadership called into question as being at-odds with an organization’s mission, it makes sense that people may be wondering what we stand for – and how committed we really are to the missions that we espouse as our raisons d’être. When folks visit a museum, what are they supporting? Who are they supporting? It is in this prevailing context of low visitor confidence that MoMA prioritized the display of these components of their permanent collection.

Cue: Me. Calling up our IMPACTS founder to tag data on how the market responds to MoMA’s action.

At IMPACTS, we collect a lot of data. The data that I share here on KYOB is mostly nonproprietary data informed by the National Awareness, Attitudes, and Usage Study (NAAU) that is constantly in-market and has responses from over 108,000 adults. In addition to the NAAU, IMPACTS tracks audience perceptions and behaviors as they relate to 224 visitor-serving organizations in the US (and several overseas as well). These 224 organizations include museums of all kinds, zoos, aquariums, symphonies, theaters, science centers, botanic gardens, and other visitor-serving organizations. Tracking perceptions of these organizations helps us inform our client organizations, alert us to trends, and spot case studies that are actually effective. One of those 224 organizations is MoMA.

MoMA is not a client organization…but at least one client organization considers MoMA amongst its comparative set and has asked IMPACTS to quantify numerous criteria concerning MoMA (and other organizations) as a means of contextualizing their performance against that of their peers. As far as I know, MoMA is not aware that IMPACTS has been collecting this data (…until now. HI THERE, MoMA!)

(Note: Although I’ve revealed myself as an even deeper industry spy in this post, I will not call out not-awesome practices by specific organizations with IMPACTS data here on KYOB. Our industry desperately needs to discuss its failures in order to evolve. Perhaps we even need a whistleblower. I, friends, am not that person. I’m sharing this data because it’s positive, informative, and may be particularly helpful for the cultural industry during a time when we may need market data most.)

Here’s the data and an analysis of what these findings mean for cultural organizations.

 

What affect did this action have on the reputation of MoMA?

A very big one. Here are some select metrics for which MoMA experienced a notable change in their recently observed performance. The data are examples of scalar variables that quantify a level of agreement to a statement within a continuum ranging from strong disagreement to strong agreement. These types of metrics inform an organization’s reputational equities, which, in turn, inform the market’s perceptions of latent constructs such as trust, value, authority, etc. These particular data derive from a tracking study that quantifies the perceptions and behaviors of approximately 800 Tri-State area residents per assessment period. For MoMA, baseline reputational equities recently increased big time (“big time” obviously being a sophisticated math term).

 

 

This kind of bump is a statistically big deal. I included data that dates back to January 2014 so that the magnitude of this bump can be seen in context. The thing to note is the change that was observed concerning MoMA in 2017. This data does not suggest that MoMA is – or is not – the best or most admired art museum. (I haven’t included that context.) Rather, what’s notable here is the significant bump that screams, “something big just happened – and the market likes it a lot!”

This observed increase in reputational equities correlates with MoMA gaining major attention for its decision to highlight artwork by artists from countries affected by the original travel ban. To be clear: These data do not intend to infer causality between the curatorial decision and reputational outcome. These data simply quantify a positive perceptual shift among the US public concerning MoMA. However, one might reasonably wonder: What else could have taken place in the same duration to cause the greatest increase in reputational equities in the last three years for MoMA? In my time working with IMPACTS and tracking metrics, I’ve not seen anything near a bump this big take place “just ‘cuz.”

MoMA’s reputational equities increased in early 2017 while visitor confidence in cultural organizations on the whole was in a general state of decline. Why does reputation matter? As it turns out, when it comes to motivating onsite visitation, reputation matters a lot. This said, take a look at MoMA’s “intent to visit” metrics below. Intent to visit is a different metric than interest in visitation. Intent means that these folks state an intention to visit MoMA. Interest often conceptually removes true barriers to visitation. (“Yes, if I ever get to New York, I am interested in visiting the Statue of Liberty!”) Intent is a more reliable signal than mere interest of actual attendance. These data indicate the visitation intention of people profiling as high-propensity visitors to visitor-serving organizations (Heads-up: Those are the folks who have the demographic, psychographic, and behavioral attributes that indicate an increased likelihood of attending a cultural organization).

 

How does this inform other cultural organizations?

Do we know the durability of these increases in reputational equities and intentions to visits? Nope. Indeed, in our fickle, competitive, news cycle-driven world, these attitudes may prove fleeting. (I will keep on eye on it to see how lasting these changes sustain.) However, these data are important because they shine a light on what the market may want and expect from cultural organizations during a time when elements of the market risk divisions on matters of cultural, political, and social opinion.

These data represent the market. They’re not about “only people who already like MoMA” or “only people who are against a travel ban” think of MoMA. Assuming that the increase in reputational equities that MoMA has experienced is (at least in part) due to its recent curatorial decision and attendant press, we could have just as easily observed that perceptions remained consistent – or, even, that people disapproved of MoMA’s position. These data point to a potential conclusion that may make some cultural organizations uncomfortable: Perhaps the market wants us to take a stand. More than that, the data may underscore something more fundamental for cultural organizations: Standing up for your mission matters.

What was important about what MoMA did may not be that it was responsive to a timely matter of broad concern, but that it proved that the organization walks its mission-talk. Parts of the mission statement of The Museum of Modern Art read that “…The Museum of Modern Art recognizes that modern and contemporary art transcend national boundaries and…seeks to create a dialogue between the established and the experimental, the past and the present, in an environment that is responsive to the issues of modern and contemporary art, while being accessible to a public that ranges from scholars to young children.” As I wrote a few weeks agoCultural organizations are not political organizations – but they are social organizations – and they exist in the prevailing context of the United States right now regardless of political preference. When we aim to completely avoid the reality of the world in which we live, we please nobody. Worst of all, we risk alienating the very people who support our missions in the first place!

Keep in mind: In the last three years contemplated in the data, several other campaigns, announcements, and programs likely took place for MoMA. This is nowhere near the only thing they’ve actively done to promote their reputation as an admired entity in the last three years! It may not be the bump alone – but also the bump in the context of the last three years – that is deserving of attention. It strikes me as a distinct possibility that the cumulative efforts of MoMA in knowing themselves may have created an institutional preparedness that was prerequisite to seizing on this moment. At a time when many organizations might have divided or stalled or gone silent (even when making a decision around their mission), MoMA moved forward rather loudly and proudly. MoMA’s relatively quick decision likely required a keen internal knowledge of the institution, its priorities, and what it stands for.

I’m not saying that the key for our sector to overcome low visitor confidence is to “get political.” Certainly, being political may prove unnecessarily divisive or inappropriate – and that could potentially result in negative reputational equities. It’s time for some organizations to make their own, appropriate moves to prove that we actually stand for the things that we’ve claimed to value for decades. I’m not talking about curatorial activism or political advocacy – I am talking about being unapologetic for honoring your organizational values and mission. Your mission is the very reason for your existence! It’s incumbent upon cultural organizations to do three things that were a whole heck of a lot easier last year than they seem to be right now: 1) Know yourselves; 2) Know your audiences (or, your own bones); and 3) Remain relevant by connecting the first two items.

I’ll keep reporting back on data as I’m cleared to share it. After all, that’s my mission and that’s what I stand for.

 

Like this post? Don’t forget to check out my 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, IMPACTS Data, Nonprofit Marketing, Sector Evolution, Trends Comments Off on MoMA Sees Reputation Boost After Displaying Muslim Artists (DATA)

Five Videos That Will Make You Proud To Work With A Cultural Organization

Let’s pause and celebrate the hard and important work of working with cultural organizations.

Talk of defunding the National Endowment for the Arts seems to be making this winter season feel a bit gloomier. Moreover, the last several weeks of KYOB posts have revolved around important, data-heavy topics that can be challenging to wrap our minds around: Negative substitution of historic visitors to cultural organizations; low visitor confidence levels; the importance of checks and balances for cultural organizations; and data about the most dissatisfying aspect of a visit…pant, pant. It’s all critical information and – even though data can be tough to swallow sometimes – it’s only by being curious and acknowledging the realities of our sector that we are able to put on our thinking caps and charge forward with our important work of educating and inspiring audiences.

Speaking of feeling inspired…I think that this week calls for a break to reflect on the social good and hard work that folks working for and within cultural organizations do every single day. Our work – your work – is damn important.

(That’s the first time I’ve ever sworn on KYOB! I feel good about it.)

Like a true nerd, there are many things (aside from a long list of beloved cultural organizations) that make me giddily geeky and, if I’m honest, a bit emotional. This famous speech from Shakespeare’s Henry V, everything Paul Revere, this Carl Sandburg poem about Chicago, and Frank Lloyd Wright’s Taliesin East are a few, very quick examples that I think my friends might call me out on immediately if they were in the room where I am writing. I know you’ve got yours, too! I’m talking about topics, spaces, and works of art that move you and make you glad to be alive.

I’ll get back to sharing new data next week. This week I want to share some of what makes me tick in hopes that it may help keep you ticking along, too – should you need a boost. With the recent Oscars on the brain and YouTube being about to overtake TV as America’s most-watched platform, here are five videos that I find myself coming back to over and over again as a person who works with cultural organizations. These little videos make me geeky, proud, and pleased to be doing the work that I do. I hope that you, cultural organization-loving folks, may feel the same way.

There are many excellent videos by, for, and about cultural organizations. There are many great cultural organization scenes in films – like this famous scene from Ferris Bueller’s Day Off. There are also many great cultural organization, association, society, and alliance videos – like Indiana Historical Society’s hilarious Hot Pepper History. (Am I a horrible person that I think that video is laugh-out-loud funny?) There are also many great videos outside of the sector providing thought fuel about cultural organizations – like this video on what art museums are for by School of Life. And, hey, I cannot leave out my own Know Your Own Bone Fast Fact videos! I could be linking to videos from different sources for a long, long, long time. But I won’t. Instead, I’ve narrowed this list down to only five – and it was hard! I aimed for variety…and I also aimed for videos that are truly worth a watch. (I also decided to stay away from any client created videos to keep things fair.)  These are videos to sit down in front of with a cup of tea (or a glass of wine) and enjoy while, hopefully, patting yourself of the back for your hard work in making the world a better place. Let’s interrupt the regularly-scheduled data dump to share resources to inspire one another this week, shall we?

 

1) People Will Come. Field of Dreams (1989)

This one’s for those of you who genuinely love the content that your cultural organization shares with the world. You don’t need to like baseball or to have seen this (excellent) film to get goosebumps watching this scene. There’s a feeling in this clip – a yearning to share something so meaningful and yet struggling with the practical means to share it and just knowing that it will change people – that’s easy to relate to if you work for a cultural organization.

 

2) Spark. Greater Philadelphia Cultural Alliance (2009)

Many organizations, associations, and alliances create videos today and many of them are inspiring. Some videos simply stand out – and this one does to me. This video by the Greater Philadelphia Cultural Alliance shares clips of people talking about their “spark” moments at cultural organizations in Philadelphia. It moves me, because I’ve been sparked and I get it. I totally get it. I’ll bet that if you’re a cultural organization lover, you get it, too. Perhaps this video is so powerful because it highlights what other people say about cultural organizations instead of what cultural organizations say about themselves. (Here’s the data on why that’s important.) Either way, this hits a nerve that makes me watch it while nodding as the video goes on and thinking, “Yes, yes! Cultural organizations are awesome!”

 

3) To Quote Whitman. Dead Poets Society (1989)

Stick with me for a moment here, because I’m going deep. I’ve recently been working on a project with IMPACTS colleagues called “The Remarkable Project.” It’s being led by Jim Hekkers, the former managing director of the Monterey Bay Aquarium, and our team has spanned the globe visiting numerous organizations in the quest to uncover what makes a visitor-serving organization “remarkable.” The project has involved a great deal of data, but also has explored the trickier, “softer” things that make an experience remarkable (including that elusive feeling of inspiration). For me, the thing that ties together every remarkable experience that I’ve had at a visitor-serving organization (or anywhere else) summons the same feeling: The excitement and awe and wonder of being alive. For you, it may be something completely different that comes close to communicating a remarkable experience at a cultural organization. For me, it’s something like Walt Whitman’s Oh Me! Oh Life!

 

4) Art History. John Costello (2013)

It’s time for the more “underground” – but every bit as relevant – video contribution to the list. Interestingly enough, my uncle made this video to promote enrollment in an AP Art History Course that he teaches in Colorado. The video is simple, and I think that’s why it moves me. It’s simply a series of famous artworks with written questions. Of course, this is a video highlighting works of art, but I think the “so what?” that it touches upon works for all types of mission-driven, visitor-serving organizations. Each type tells important stories and gets to the bottom of key questions that connect us to one another, to our communities, and to the world at large. I often re-watch this video. Like art itself, it resonates with me as forever timely.

 

5) #DayOfFacts. The Field Museum (2017)

I spy a museum proudly executing its mission with integrity. Over 280 scientific and cultural organizations celebrated #DayofFacts on February 17. A lot of great things came of that day: organizations standing up for their missions, protecting facts, inspiring audiences…and this video by The Field Museum. It just makes me so dang proud to work with mission-driven, visitor-serving organizations. Data suggest that organizations walking their talk matters. I’m goosebump-filled by 0:06 of this video, choked up at 0:42, and…sheesh…I’m not teary at 0:52, you’re teary at 0:52. “Facts are welcome here. And so are you.”

 

Thanks for watching and allowing me to share this little list with you. If you still have some bandwidth and more tea (or wine) in that cup of yours, head on over to my YouTube channel and check out some fast fasts for cultural executives. Now that I hopefully have you feeling a little bit mushy, I figure some data-talk might balance things back out a bit! On that note, I have new data coming to you next week and we’ll hop back into our regularly-scheduled analysis.

If there’s a video that inspires you and keeps you going as a cultural-organization lover, I’d like to see it! Please link to it in the comments so that others can enjoy it as well. I’ll end this post with another classic to help us all rise to the occasion during the final, dreary days of winter: “I’m made of wax, Larry. What are you made out of?”

 

Like this post? Don’t forget to check out my 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, Miscellaneous 4 Comments

Data Reveals The Worst Thing About Visiting Cultural Organizations

The primary dissatisfier among visitors to both exhibit AND performance-based cultural organizations is something we can fix.

What is the worst thing about a visit to a cultural organization? That’s the topic of today’s Know Your Own Bone Fast Facts video. The data is in and there’s a clear leader…by a long shot.

Increasing visitation to cultural organizations comes down to mastering the relationship between two things: reputation and satisfaction. While both of these feed into one another and have a somewhat dependent relationship, reputation is primarily established offsite while satisfaction is established onsite within the walls of your organization. Here’s more on the visitor engagement cycle, if you want to take a deeper dive. For cultural organizations, higher satisfaction rates result in a better reputation, more visitation, a greater intent to revisit, and an increased likelihood to support an organization. Making sure that visitors have a satisfying experience onsite is critical. We’ve quantified the weighted aspects that contribute to onsite satisfaction, but a big part of providing a satisfying experience is, well…not providing a dissatisfying experience.

So, what’s the most dissatisfying thing about a visit to a cultural organization? In order to get to the bottom of this question, we consulted the National Awareness, Attitudes and Usage Study. I wanted to look into exhibit-based and performance-based cultural organization types separately. After all, “broken exhibits” (a category that I’ve seen show up in data before, and a thing that several individual clients have been concerned about in the past) is not likely to be a major dissatisfier for, say, an evening at the ballet. The data shown below was collected by a process called a lexical analysis. That is, we didn’t ask folks to “rank” predetermined responses. We asked them open-ended queries about the most dissatisfying aspects of a visit, and then – in a nutshell – used fancy computers to group responses together by weighted value based on frequency of mention and strength of conviction. You can read more about the NAAU study here. The bottom line: respondents populated these answers on their own. These are what they decided were the most dissatisfying aspects of a visit.

 

Let us look at exhibit-based visitor-serving organizations first.

This includes various museums, science centers, botanic gardens, zoos, aquariums, and other types of visitor-serving entities that have ongoing hours of operation and display collections. When folks reported an overall satisfaction value below 60, we asked them which factors contributed to their having a less-than-satisfactory experience. Take a look:

Customer service issues – including rude staff, volunteers, and guards – are by far the most dissatisfying things about a visit. This chart indicates rankings as index values – a way of quantifying proportionality between considerations. With an index value of a whopping 173.6, customer service issues are a huge opportunity. (In consultant speak, the word “opportunity” is a euphemism for “issue” –  if you want to try out some consultant speak at your next staff meeting.) In fact, “customer service issues” is the only response with an index value over 100 at all, indicating that this is an important opportunity to tackle. Trailing a long way behind customer service issues are cleanliness issues, inconvenient hours of operation, closed off exhibits, broken exhibits, and parking issues, to name the big ones. Rude staff (index value 173.6) is over twice as dissatisfying as having whole exhibits closed off or shut down (82.1). Yikes! Rude staff is 4.34x more dissatisfying than admission cost for exhibit-based visitor-serving organizations.

 

What about performance-based visitor-serving organizations?

This includes theaters, symphonies, orchestras, ballets, and other performance-based entities. While there are more items with index values above 100 for performance-based organizations than for exhibit-based organizations, there remains a clear leader:

Interesting, right?! Customer service issues – such as rude staff, and including volunteers and ushers – is still the top dissatisfier! Rude patrons are the runner-up for this subset of organizations. As it turns out, rude people really are the worst on all fronts. The “rude guests” finding may be frustrating for performance-based organizations, as this is a high index value for an aspect of the experience upon which the organization may generally have little control. It raises an interesting question (for which I don’t yet have a data-informed answer): If an organization prioritizes staff friendliness, might it affect the “vibe” of the experience enough to encourage patrons to be friendly and polite as well? In other words, do organization representatives exhibiting less-than-friendly behavior (a notably bigger issue) contribute to an atmosphere that excuses patrons for also being less-than-friendly?

 

Positive, face-to-face interactions between representatives and visitors are critical for cultural organization success.

While rude staff are the most dissatisfying thing about a visit to a cultural organization, positive interactions with staff have the greatest influence on increasing satisfaction. Encouraging meaningful interaction between people is one of the strongest superpowers of visitor-serving organizations. When we consider what folks report to be the best thing about a visit to a cultural organization, it’s not surprising that the worst thing might be the very opposite. When we misunderstand the important role that our staff, volunteers, and folks on the floor play in contributing to this superpower, we risk visitor satisfaction and, perhaps in turn, our long-term solvency.

The data point toward an opportunity for both appropriately training and valuing frontline staff. Guards, for instance, need not be trained to be grim folks whose job it is to reprimand, but rather to engage and aid in missions to inspire and educate audiences. Similarly, volunteers need not be considered “extras” to the visitation experience. They are our very drivers of satisfaction – and our frontline champions of shared experiences.

On that note, now is probably a good time to go hug your favorite, friendly volunteer or member of the floor staff. They deserve it.

 

Like this post? Don’t forget to check out my 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, Fast Facts Video, Financial Solvency, IMPACTS Data, Myth Busting, Trends 2 Comments

People, Planet, Profit: Checks and Balances for Cultural Organizations

It’s a time of change and evaluation for cultural organizations – and that’s a good thing.

The societal current condition in the United States is bringing to light several challenging – and likely incredibly beneficial – fundamental questions about cultural organizations, including who we are and what we stand for. Are these necessarily the same questions that we would have chosen to confront at this moment of our own accord? Probably not…but, confronting these (perhaps inconvenient) challenges may be long overdue for many cultural executives and board members.

As I wrote last week: We’re not political organizations – but we are social and cultural organizations – and we exist in the prevailing context of what is happening in the world around us. Negative substitution of the historic visitor is taking its slow toll on attendance numbers, and visitor confidence is low right now. (I know, I know: Select organizations are experiencing modest upticks in attendance – but, in general, these modest increases are not keeping pace with population growth. Adjusting for population growth can be a bummer that can turn our “increased attendance party” into a “pity party.”)

It’s time for a check-up. It’s time to ask ourselves some difficult questions in order to make sure that our organizations are prepared to tackle strategic issues that may or may not confront our organizations during periods of change. It’s time to make sure that we are prepared.

Enter: Colleen (hi there) and some brief thought-fuel informed from conversations with colleagues over the last few weeks as we revisit visitor-serving organization basics, explore strategic plans, and challenge fundamental questions at a moment in time when knowing who your organization is and what it stands for is critical.

 

The triple bottom lines for cultural organizations

In order for us visitor-serving organizations to “work,” we generally need to master three, key areas that serve as our triple bottom lines as nonprofit organizations: People (community), Planet (mission), and Profit (or, more accurately, revenues). Our success depends upon all three of these core areas of people, planet, and profit, and we’re only as strong as our weakest core area. Each “bottom line” category may spawn some interesting – and likely beneficial – strategic conversations:

 

 

Profit (Revenue)

Revenue aids your organization in cultivating visitation and building community, and is necessary for investments in your mission. Hold the cringe, mission-focused folks! If we cannot keep our doors open and be financially sustainable, then we cannot fulfill our purpose. Revenues make it possible for us to pursue our missions. We need to care about solvency. Some organizations are more dependent on the gate while others are more dependent on grants and government funding. Regardless of how your organization keeps its lights on, less money usually means less mission delivery.

Questions to consider: What if grants and government funding become less available? Does your organization have enough market appeal and business strategy to exist on its own? After all, the market determines our success, regardless of how we keep our doors open. Are we approaching access opportunities in a way that is most beneficial to our solvency? It’s an important time for organizations to understand access basics and reconsider their engagement funnels. In a simplified nutshell: Likely visitors attend your organization by paying your optimal admission price; likely supporters visit by way of membership or donor groups; and lower-income and other under-served audiences visit by virtue of your organization’s investment in targeted access programs.

Relevant context: Contemplating these opportunities and how they relate to your organization (for starters), can help channel discussions about how your organization keeps itself afloat. While nothing has happened yet, funding from NEA, NEH and other government-supported sources may be in peril. Additionally, US-based institutions may benefit by remembering the difficult situation recently faced by many museums in Europe when austerity measures reduced government funding. While we may not ultimately lose significant funding and government support as a sector, it would be irresponsible to not consider these possibilities and what they would mean for our organizations. No matter how your organization keeps its doors open (admission revenues, donations, government or foundation funding, endowment dividends, etc.), now is a good time to do a check-in and play the “what if?” game.

 

People (Community)

People keep our doors open and also make our missions possible, as many organizations have missions that revolve around people and communities. The need to be welcoming has never been greater for cultural organizations because our historic audiences are leaving the market at a higher rate than they are being replaced (a phenomenon called negative substitution of the historic visitor). Many organization types are confronting challenging negative attitude affinities, meaning that people don’t feel that these types of organizations may be “places for people like them.”

Questions to consider: Who and what matters most to our organizations? Whose opinion do we care about: Emerging audiences upon whom our future depends, or the sensitivities of unlikely visitors who might be put-off by science or culture? How do we mobilize people and communities to serve our missions – and, when it comes to cultivating communities during periods of conflict and social division, what roles do we play? At our core, cultural organizations are hubs of human connection. That is our superpower. To what extent do we nurture our community and provide a space for discussion, and to what extent do we avoid this very role for fear of polarization? Is inaction also an action? It appears to be. Do we truly welcome all, or do we welcome only certain audiences? It’s time to be honest about this.

Relevant US context: It’s been reported that we are currently a nation divided and hate crimes have increased. Now may be a time when cultural organizations are called upon to stand up for emerging audiences, and, in the process, cultivate them as attendees and supporters. Some organizations are already defending communities, though those are still tending to be the organizations whose participation is logical (i.e. the Holocaust Museum). If social polarization continues, it may be likely that all kinds of visitor-serving organizations will need to fight harder against appearing unwelcoming.

Ours has perhaps become a Protest-of-the-Day society where a pithy hashtag defines the movement of the moment as folks figure out how to organize to make their stances known. This risks reaction – or, even worse, inaction – from cultural organizations frightened by the perceived risks of audience alienation. However, what we sometimes fail to recognize is that our efforts to remain impartial may be discordant with our missions – and may risk alienating the very people most likely to engage with our organizations. Consider the below data from the National Awareness, Attitudes, and Usage Study that organizes the US public’s intent to visit a cultural organization by their belief that climate change is mostly due to man made activities.:

What these data suggest is that a person who strongly believes in the science indicating man’s role in climate change is 1.76x more likely to visit a cultural organization in the relative near-term than someone who denies man’s role as a primary contributor to climate change. In fact, the data suggest that persons who don’t believe that man is responsible for climate change are generally less likely visitors to cultural enterprise – which makes sense: If one doesn’t believe in man’s role in climate change – or even in the science of climate change – then why would one waste their time and money visiting a natural history museum, aquarium, zoo, science center, or science museum where science plays a central role in the organization’s mission and programming?

We live in an era of incredible personalization, and this increasingly means self-selection. Significant portions of the public choose to engage with activities and information sources that conform to their existing worldview. As the public becomes less omnivorous in its consumptions, organizations risk becoming unappetizing to people by choosing the bland middle ground.

 

Planet (Mission)

Our missions are the reason for our existence. They motivate people to visit and support, and they also bring people together. Nearly all cultural organizations have missions that revolve around people (educate, inspire), and some also go beyond this to include messages of conservation or preservation. Having a mission doesn’t just make us feel good. Organizations that highlight their missions financially outperform those marketing primarily as attractions. An organization being perceived as “walking its talk” is critical for success.

Questions to consider: What are we doing to make the world better? How? Will we have the courage to take a stand for our missions? To what extent are we willing to honor our missions, and what trade-offs are we willing to accept to defend our missions? Will we have trouble with our board? Will would-be donors be upset if we pursue our missions? Will our board members support our mission even if it contravenes their personal or professional preferences? (Which, of course, begs the question of if we should have board members who disagree with our mission in the first place?) Do we have any conflicts of interest that fly in the face of our mission? How can we resolve these conflicts?

Relevant US context: Science and culture are being politicized. Though we are not political organizations, there are choices to be made that may risk politicization. Some things that we protect and cherish as part of our missions may be threatened by government actions, including access to the arts, climate, oceans, animal species extinction, and even fundamental aspects of education. Nonprofit organizations have missions, and it will be important for organizations to have honest conversations at a board and leadership level about dedication to the mission.

 

For organizations to thrive, they need to have all three elements of people, planet, and profit in-check. Much of the change that could be triggered by possible policy changes would have been inevitable. Cultural organizations need to reach new audiences. In an increasingly transparent world, we need to be asking hard questions. These challenges and changes may not be “bad” at all! To the contrary, if anything, these changes may simply speed up the necessary evolution of the visitor-serving industry.

Again, it all comes back to people, planet, and profit. To quote School House Rock talking about our three-ring government, “Everybody’s act is part of the show and no one’s job is more important. The audience is kinda like the country, you know, keeping an eye on their performance.” Regardless of your political leanings and policy preferences, now is a good time to take a look at how your organization manages its people, planet, and profit – the checks and balances that ensure your future vitality.

 

Like this post? Don’t forget to check out my 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, Financial Solvency, IMPACTS Data, Nonprofit Marketing, Sector Evolution, Trends 1 Comment

Negative Substitution: Why Cultural Organizations Must Better Engage New Audiences FAST (DATA)

Fewer and fewer people look, act, and think like “historic” attendees to visitor-serving organizations. Here’s how many fewer.

As we dive more fully into 2017, I wanted to take a moment to discuss negative substitution and take a deeper dive into how it is affecting cultural organizations. The bad news is that negative substitution of historic visitors is taking place for mission-driven, visitor-serving organizations (museums, theaters, symphonies and orchestras, science centers, botanic gardens, etc.). The good news is that the first step to evolution may be acknowledging our changing market. On that note, let’s do this…

 

Negative substitution is urgent

Negative substitution is a phenomenon occurring globally wherein the number of people who profile as historic visitors leaving the market outpaces the number of people who profile as historic visitors entering the market. It’s the driving reason for the decline in attendance to museums, zoos, aquariums, performing arts entities, and other visitor-serving organizations. Negative substitution is taking place because the market is growing more diverse, while perceptions of cultural organizations as being places for a certain kind of person have remained largely static. Simply, when there are fewer people in the market who profile as historic visitors year-over-year, and also growth in the number people who profile as “nontraditional audiences” year-over-year, the market potential risks fewer-and-fewer visitors over time.

The data below is an aggregate of all museum types that we monitor at IMPACTS (224 of them) crossed with visitation information from the National Awareness, Attitudes, and Usage Study of (currently) over 108,000 people. It includes museums related to art, history, and science, children’s museums, historic sites, performing art organizations, zoos, aquariums, and botanic gardens. The negative substitution rate for museums shows that for every one historic visitor who leaves the US market (by way of death, relocation, or migration), they are being replaced by only 0.948 of a person (by way of birth, relocation, or immigration). This may not sound impressive – but this is actually a huge difference.

Think of it this way: An organization with a stable attendance of 1,000,000 visitors may keep doing everything right by their current audiences (e.g. marketing, developing exhibits, etc.), and then might reasonably expect to engage 948,000 future visitors…and then 899,000 visitors…and then progressively fewer yet visitors over time absent interdiction. And they will be doing everything right by their current audiences!

 

In order to overcome negative substitution, we need to do a better job at attracting two, general audiences that do not visit cultural organizations at representative rates relative to their market size: millennials and not-white people (bluntly). Keep in mind, these are not entirely different audiences as millennials are the largest generation in human history and nearly half of us are of different racial and ethnic backgrounds than traditional historic visitors. Moreover, as sick as we may be of discussing it, data suggest that organizations must do a much better job at attracting and retaining millennial audiences. Negative substitution rates for different types of visitor-serving organizations generally correlate with attitude affinities – or to what degree the public perceives that an organization is “for people like me.” Though I will be referencing them later, you can learn more about different attitude affinities for different organization types in this post.

 

Overcoming negative substitution means changing the profile of the historic visitor to cultural organizations

Or rather, we need to evolve to be perceived as more welcoming to different types of people than our “traditional” visitor. Negative substitution suggests that, if we keep on keeping on attracting people that look and behave like our current audiences, we’ll slowly decline in visitation over time. Sure, we need to evolve to meet the changing expectations of historic audiences by honoring market trends of personalization, connectivity, and transparency. More than that, we need to do a better job at attracting different types of people and making them our regular attendees. (And not simply our “super special one-off-program” attendees.) We need to change up the very profile of the type of person who wants to visit a cultural organization.

Isn’t it funny that many museums are only now realizing the importance of data-informed decision-making…all the while focusing primarily on audience research that risks yielding deleterious long-term consequences by emphasizing the very programs and budget allocations that support negative substitution in the first place? To reach new audiences, we need to get smarter about market research and attracting the people who we want to visit but don’t yet attend. The people who we need to start attracting are not yet on our email lists and, by definition, aren’t onsite to fill out surveys. (Yes, Colleen. It’s… hilarious.)

The change that we need to carry out is a big deal – and we are (however slowly) progressing on the whole! In the history of museums and cultural organizations, this kind of shift has never been so urgent. Today, with evolving demographics and imperiled government funding, engaging emerging audiences matters more to our missions and financial solvency than ever before. And, indeed, many organizations are implementing new strategies to cultivate and attract new audiences. Successful organizations are changing up how we approach change.

 

How negative substitution is affecting organization types

While the overall negative substitution rate for museums is 0.948 people entering for every one person who leaves the market, we are able to further parse the negative substitution rates of specific types of cultural organizations. Here’s a sample of them and some notes that may contribute to the negative substitution rates of each visitor-serving type. Let’s go backward from those with the lowest negative substitution rates to those with the biggest opportunity.

Zoos: Among visitor-serving organizations, zoos are suffering least from negative substitution. This is true even amidst increasing discussions about animal care and welfare. Like aquariums (discussed next), zoos may more easily deliver on the promise of awe and wonder without facing some of the perceived intellectual intimidation that may be attendant to a science or art museum visit. Moreover (and interestingly), lexical analysis of data reveals that being outside may play a role in reducing negative attitude affinities for zoos. Conceptually, it makes sense: Being outside may feel more like a park or public area than being within the walls of an institution. Also, like aquariums, having the added “so what?” of conservation and the protection of animals provides an added level of reputational equity that works in this type of organization’s favor.

Aquariums: Aquariums are also suffering notably less than the museum industry average. That said, negative substitution is never a good thing – and there’s still important work to be done. A reason for these higher (comparatively) values may be that aquariums are among the types of visitor-serving organizations that are most dependent upon the market. Relatively speaking, as a sector, aquariums generally have the lowest levels of government support, the smallest endowments, and many have also emphasized their nonprofit-y conservation mission that engenders additional support. (Generally, this helps aquariums – and any organization that particularly highlights its mission.) Aquariums also may be able to capture awe and wonder without as big a risk of the perceived intimidation factor that may burden other content types.

History museums: History museums are a wee bit above the museum negative substitution average of 0.948:1.000. History organizations tend to rely most heavily on stories (or, talking about history) than other types of organizations that are perceived to revolve around specific, individual artworks or exhibits. While visitor-serving organizations are increasingly understanding the importance of creative storytelling in an effort to create relevance and resonance with visitors, history organizations may have storytelling most definitionally embedded within their reputational DNA. Storytelling and providing relevant, personalized connections are critical today – and this is also an area where history organizations have the ability to shine.

Art museums: Art museums fall just below the industry negative substitution average. Like science museums (discussed next), art museums may have distinct, perceived reputational barriers that may contribute to negative attitude affinities – or, people thinking they simply “aren’t places for people like me.” As the stern forefathers of “don’t touch,” “stay behind the line,” and “quiet, please” cultural engagement, it’s worth noting that art museums may have been starting from a rather uninviting place. With that in mind, this number still isn’t “good,” but it does show hope and acknowledge that there has likely been meaningful progress made by art museums in responding to these new market realities.

Science museums and science centers: Science museums and science centers are put together in this data because the market largely does not distinguish between science centers and science museums. I could (and likely will) write an entire post with more data on why the science museum/center market has higher negative substitution rates than the museum average and some possible superpowers for combating it, but here’s a very brief run-down:

Interestingly, among visitor-serving organizations, science centers/museums tend to be viewed comparatively as places to visit with children. While this was probably a good thing when millennials – the largest generation in US history – were the kids, it’s not great news now that millennial women are reproducing at the slowest rate in US history. Simply put, millennials are having fewer children (or no children), and they are having their children later in their lives – when they are more advanced in their careers and leisure time is particularly precious. If you’re an organization that has the public perception of being a place primarily for children, your market size is likely shrinking.

Moreover, like art museums, “science” content may be viewed as intimidating for nontraditional visitors. There may be a perceived content “language barrier” that contributes to folks thinking that science museums/centers “aren’t for people like me.” Science is a big topic with a lot of specialties! One can see how someone who doesn’t know much about the accessibility of science centers/museums might be intimidated. (Heck, even folks who DO know about the accessibility of science centers/museums may feel this way!) Combine this with the perception that these are places where you take your kids, and potential visitors may fear a “Dad looks dumb” situation.

Orchestras: Exhibit-based cultural organizations are far from the only cultural organization type in the market or included in the mentioned overall “museum” negative substitution number. Performance-based organizations are every bit as critical for a robust and vibrant cultural community. Unfortunately, orchestras (and symphonies, which have similar negative substitution rates) may be facing particular challenges in today’s world where folks can do many things at once. In fact, data suggest that multi-tasking is how many people like to enjoy music as well. But don’t write this high negative substitution rate off immediately on content disinterest or the menace of the modern world! Some performance-based organizations simply have not yet evolved to meet the desires of millennials (a critical audience!), and have instead chosen to “age” alongside their historic visitors.

Some symphonies and orchestras are mixing things up and trying out new programs – and that may be the key to their future. Certainly, among the visitor-serving organizations shown here, orchestras have the greatest need to reach new audiences – and fast. That doesn’t mean that they (or any other organization type) can’t do it. It means that some may have a longer ways to go.

Remember: Though 0.948 is the industry average, it’s still bad news.  There are no “winners” or “losers” here – but rather a look into the reality of the mission-driven, visitor-serving sector and some of the challenges facing both individual organization types, and also our industry as a whole. To change up these perceptions, we need all hands on deck. Our long-term vitality and relevance may be on the line.

 

Negative substitution correlates with attitude affinities

Interestingly – and unsurprisingly – negative substitution rates correlate with negative attitude affinities. Attitude affinities quantify how welcome and comfortable people feel at an organization. Therefore, it’s no surprise that the “ranking” of negative attitude affinities among the organization types mentioned (shown below) is a similar “ranking” as is the severity of negative substitution – with the exception of science centers and science museums. Being perceived as places “for kids” plays a large role in driving negative substitution for science museums and science centers, but it benefits these types of organizations as being perceived as relatively welcoming. There’s simply less perceived incentive to visit a science center/science museum if you don’t have small children – and fewer people do.

The data below comes from IMPACTS and the National Awareness, Attitudes, and Usage Study – and it is a summary of this data previously discussed on Know Your Own Bone. In short, it shows what percentage of people in the U.S. market do not feel like an organization type is a place for someone “like them.” How that is interpreted is in the eyes of the respondent. While data suggest that it may correlate with educational attainment (and, relatedly, with household income), it certainly does not correlate with an organization’s admission price.

Nearly four out of 10 people don’t feel like art museums or history museums are “places for people like me.” Just over three out of 10 people feel this way about science museums and science centers. Only about two in 10 people feel that an aquarium or zoo is “not for someone like me,” and almost five out of 10 people feel this way about orchestras. Again, you can read more about this data and attitude affinities here.

 

Within our industry, some tend to think of targeting “historic” audiences as the safe bet and cultivating new audiences as a secondary goal to be pursued “when funding becomes available.” This is short-sighted step on a long, slow march into obsolescence. The market is crawling with potential visitors – and they are ripe for cultivation if and when we decide to think outside of our outdated box.

The need to cultivate new audiences as regular attendees is critical for our long-term survival. The first step to overcoming negative substitution may be acknowledging this. Let’s take this information and welcome new folks through the door – not only because our world needs it right now, but because we do, too.

 

Like this post? Don’t forget to check out my 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, Financial Solvency, IMPACTS Data, Millennials, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 3 Comments

How Imaginary Lines Drawn by Cultural Organizations Hold Them Back

We can make “rules” about what applies to our industry – but our potential visitors and supporters don’t have to follow them. And when they don’t, it’s our own loss.

What matters more: The imaginary lines that we draw from within our organizations, or public perception? Recent events got me thinking a little bit harder about some internal industry reasoning that may have made perfect sense in the past, but may not quite fit the world in which we live today.

 

1) Organizations can create a narrative, but the market decides its validity

It’s hard not to feel for the Saint Louis Art Museum right now. For those who haven’t been following along, an American painting has historically served as a backdrop during the inaugural luncheon at which members of Congress host the newly elected president. George Caleb Bingham’s “The Verdict of the People” is the chosen painting for Trump’s inauguration – and the Saint Louis Art Museum has agreed to loan out the painting. The publicity that Saint Louis Art Museum has received has – on the whole – not been particularly awesome. A Change.org petition has been put up in protest of the museum’s decision, and there’s a lot of notable media coverage on the topic.

George Caleb Bingham’s “The Verdict of the People” (1854–55).

What is interesting to me is the museum’s (in my opinion, completely rational) statement on the situation, and the questions that it raises about museums today. The Washington Post describes museum director Brent R. Benjamin’s response as follows:

“’When the U.S. Senate asks the St. Louis Art Museum to be part of the inauguration, we consider that an honor,’ said Benjamin. The decision, he says, wasn’t controversial; the museum was simply honoring its pre-election commitment to a bipartisan congressional committee. ‘We take no position either on candidates for public office or individuals who hold public office,’ he says. The museum will incur no costs for shipping and securing the painting during its Washington sojourn, though critics of the museum point out that the painting is particularly popular with local audiences, and rarely travels, so its absence isn’t without local impact.”

The decision may bear public perception or reputational impacts for the museum – ones that could easily swing from the positive to the negative depending on one’s own point of view. This has me thinking: Can an organization in today’s world (a world that increasingly values transparency, connectivity, and blurs traditional personal/professional lines) claim to not be held accountable for taking a position, while taking an action that supports a position? I believe that this may have been possible in the past (“This is a professional honor!”) Today, though? I’m not so sure…

It strikes me that the museum has taken a very rational intellectual position on a matter that risks irrational perceptions because it is an actual happening. How and to what extent this will affect the museum’s reputational equities will only be seen over a period of time. Maybe it won’t be negative – perhaps status quo is the worst possibility: the museum may risk being seen as an organization denying the emerging role of museums as places for discussion and conversation in a changing world. Though it may make good, intellectual sense that the museum has made such a nonpartisan statement, the statement on the action may matter less to the public than the action itself.

This recent happening got me thinking about the many other ways that some cultural organizations cross their fingers and hope with all their intellectual might that the same lines they say and think exist actually exist in real life for their constituents.

In what other ways is the world changing and we are “making rules” that our potential visitors and supporters simply don’t acknowledge? Where do we create “intellectual lines” that may actually be hurting us? Here are a few others that come to mind…

 

2) Industry definitions and classifications do not necessarily matter to the market

Within the cultural industry, we do a lot of intellectual line-drawing. My first full-time job out of college was working with a totally bomb science center in Seattle and I thank my lucky stars every day for that work-horse, passion-driven, bottom-of-the-totem-pole, deeply nerdy, frustrating, frantic, wonderful job. (I even got to voice a television commercial and felt like a star!) If there’s one thing that was reinforced to me seemingly every day it was that “We are not a museum. We are a SCIENCE CENTER.” (This is not unique to the science center where I worked. Science centers and science museums often attend or prioritize entirely different association conferences!) Imagine my surprise when I got to IMPACTS and came across data that instead suggested: The market does not reliably distinguish between science centers and science museums.

Uh oh.

It’s true. While some folks may be able to distinguish the nuance that differentiates these respective experiences, the data indicate that the overwhelming majority of visitors simply don’t sit around contemplating organization type classifications. We found that when members of the public were asked to identify their favorite science center, many would reference a science museum. Similarly, when we asked the public to name the science museum that they’d most recently attended, many would identify a science center. Though they are based on intellectual distinctions, some lines that we draw are often imaginary to the public – which raises the question: Do these lines even matter? Or worse, do they hold us back?

Moreover, how the industry classifies its own organizations – and how much case studies, data, models and examples apply (or don’t apply) to the groups – can be similarly imaginary. What do data indicate is the most top-of-mind science museum or science center in the US? The National Air and Space Museum of the Smithsonian Institution.

“WHAT?! That’s a history museum!” Nope. Not according to the market.

Here’s why this is important: When cultural executives “that doesn’t apply to me” industry trends, it’s usually because they’ve drawn imaginary, defensive lines to protect themselves from facing uncomfortable realities. It doesn’t matter how much a science center, for instance, hopes that The National Air and Space Museum isn’t in its competitive set. According to the market, it is… and the market matters for our survival. (This is but one example of an imaginary line that we draw –it also happens between orchestras vs. symphonies, encyclopedic vs. contemporary art museums, and so many other types of organizations.)

 

3) The hybridization of experiences affects all organizations

The phenomenon of point of reference sensitivity elevates the call to action for organizations to communicate their singular experiences and missions. Some organizations are doing an excellent job, and they come to be known as a kind of “gold standard” for their type of cultural organization. However, organizations shifting their content offerings and being “more than a museum” (for example) are having an affect on the market. The experiences historically attendant to visitor-serving organizations are evolving to include non-traditional content. This happening blurs historic perceptions of what comprises a particular “type” of visitor-serving organization.

For example, some aquariums feature rain forests – once the historical province of conservatories and botanical gardens. Some children’s museums have civil rights exhibits – once the province of history museums and historic sites. Some science museums feature aquatic life – once the province of aquariums. Some orchestras have vocalists – once the province of theaters or operas. These hybridizations, consolidations, and integrations of experiences were initially theorized to broaden appeal and expand the market. Indeed, it certainly helps to increase elements of surprise and perceptions of providing a unique experience when these elements fit cohesively into an organization’s mission.

Increasingly, hybridization is the norm – not the exception. This compounds previously discussed challenges regarding the historic perceptions of what defines and/or distinguishes any specific type of enterprise (e.g. science center v. science museum). More importantly, if the distinction matters less to the public, perhaps it ought not matter so much to us.

 

4) It is not that nothing applies to us, but that most everything does

When we draw imaginary lines within our industry or organizations – from our classifications to our insistence that potentially polarizing actions “don’t count” – perhaps we are purposefully making a choice to be blind to the new world in which we live. Today, it’s the market that is the ultimate arbiter of our successes.

Question: Who wins in the lexicon game of “Museum vs. Center vs. Academy vs. Discovery Hub vs. Other Magic Words That We Think Make Us Special?”

Answer: Whoever provides the most unique, satisfying, connective and meaningful experience.

Don’t get me wrong – the words that we use certainly matter to the market… but our actions matter more. When we focus on imaginary lines and forget that we can determine importance but the market determines relevance, we risk allowing parsed, internal definitions to overrule prevailing public sentiments. We risk creating “exemptions” based on an internal distinction that the market does not recognize.

Today’s truth may be that it’s not that “that doesn’t apply to me” – it’s that everything does. Market trends play an important role in how organizations need to operate in order to achieve success. The key is to ask hard questions and consider that Babe Ruth was onto something when he said that, “Yesterday’s home runs don’t win today’s games.”

We are playing a new game – but we don’t make the rules.

We offer expert-informed suggestions. The market decides if we’re playing ball.

 

Like this post? Don’t forget to check out my 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, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 1 Comment
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