Point of Reference Sensitivity in Visitors: How It Affects Your Cultural Organization And What To Do About It

Data suggest that it's good to to be the first organization that someone visits... but what if yours is Read more

Millennial Data Round Up: What Your Cultural Organization Needs To Know

This is what you need to know in one, single post. Millennials are a hot topic. While I consider "millennials" Read more

Experiencing Millennial Discussion Overload? Here Are Four Things to Remember

Cultural organizations need to reach millennials and that means talking about it – but that talk doesn’t make other Read more

Audience Access: The Reality For Cultural Organizations To Embrace for Solvency

The first step in the evolution toward more sustainable cultural organizations is embracing the reality of "access" and reviewing Read more

Three Data-Informed Reasons to Love Gen X Visitors to Cultural Organizations

Thank you, Gen X. Just… Thank you. Let's be honest: Generation X is squeezed in between two large, noisy, Read more

Five Famous Proverbs That Are NOT About Running a Nonprofit (And Three That Could Be)

True in life? Maybe. True in running a nonprofit? Nope. Sometimes we get so used to hearing certain phrases and Read more

Zoos

Point of Reference Sensitivity in Visitors: How It Affects Your Cultural Organization And What To Do About It

Data suggest that it’s good to to be the first organization that someone visits… but what if yours is the second?

If you’re the best art museum, for instance, then a visitor to art museums should be able to tell, right? Wrong. As it turns out, it’s a bit more complicated. This week’s Know Your Own Bone – Fast Facts video is about firsts… and seconds. And what to do if your organization is second.

You probably remember your first kiss – and your first car, your first love, and a whole host of other firsts. As human beings, we tend to ascribe a premium to firsts – and visits to cultural organizations are no different. Data suggest that first-time visitors to a type of cultural organization – such as a science center – rate their visitor satisfaction higher than those who have visited any other science center before – 18.1% higher, to be exact.

That’s a huge bump! It’s great news for the first cultural organization of its kind that a visitor experiences. Woohoo! We’ll take it! While this value varies slightly based on cultural organization type (history museum vs. aquarium vs. symphony), they tend to hover around this average.

However, the sad side of this coin is that, for no fault of their own, the second (and third, forth…) like-organization that an attendee visits is likely to suffer from significantly lower satisfaction levels than the first. This is a big deal for many obvious reasons, but one of which is the fact that overall satisfaction is a major contributor to overall value perceptions of organizations. Lower satisfaction levels lead to less word of mouth and thus less support and visitation. Yikes!

First time visitors also rate their experiences 14.8% higher in terms of value for cost of admission. That’s another huge bump that’s great for organizations able to benefit from that “first time” magic. 

We call this phenomenon Point of Reference Sensitivity

pors-image-impacts

We noticed this trend at IMPACTS and we gave it a name. Point of Reference Sensitivity suggests that the market’s expectations are being constantly reframed by recent experiences. Essentially, as a person gains familiarity with an experience, it becomes increasingly harder to impress them. While Point of Reference Sensitivity may make logical sense, it’s still a bit of a bummer for the second cultural organization that hosts that visitor.

What is the solution? Be more unique.

Differentiate yourself as an individual organization rather than priding yourself on being like all other such organizations. That may sound overwhelming, but the good news is that we live in a connected world where differentiation may be easier – and more expected – than ever before. It’s a call to organizations to undertake smart experiments and creative programs, and to incorporate avenues for personalization and shared experiences. It’s a call to action to know who your organization is and what it stands for as well as why it is uniquely important. Achieving that “first time” satisfaction bump with every visit means smart integration of trends and awareness of market perceptions. Unsurprisingly, perhaps, it all comes back to doing well what you do well – and letting folks know about it!

Those organizations that are most susceptible to Point of Reference Sensitivity are those that believe themselves to be mostly a type of attraction rather than a unique organization. The key to overcoming Point of reference sensitivity is to be yourself. That is how the market determines which organization is “best.”

 

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, Nonprofit Marketing, Sector Evolution 1 Comment

Audience vs. Market Research: A Critical Distinction for Cultural Organizations

An overreliance on audience research may be the very thing holding back even the smartest of cultural organizations.

With so many cultural organizations nowadays boasting audience research capabilities, why is the industry struggling so severely in terms of engaging new and emerging audiences? We’re confusing audience research and market research – and that difference is the topic of this week’s Know Your Own Bone – Fast Facts video.

Not a video person? No problem. This information is important, so here’s a summary:

 

Most cultural organizations collect and focus on AUDIENCE research

Audience research is any research conducted on specific audience segments to gather information about their attitudes, knowledge, interests, preferences, or behaviors. For cultural organizations, audience research is often conducted on current visitors and past visitors. It often comes in the form of exit surveys, zip code collecting, and reaching out to members and visitors through email lists or online communities (to name a few sources of these types of data).

Audience research is the most common type of research carried out by cultural organizations by a long shot – and some organizations even have their own audience research departments! These data help us uncover information related to who is visiting, why they are visiting, and what the people who are already engaging with the organization think.

 

Organizations often struggle with collecting MARKET research

Market research, on the other hand, is any organized effort to gather information about target markets – including the folks who may NOT be visiting an organization.

Market research can be tricky, though, because someone who is not visiting your organization cannot fill out an exit survey. They may not be a part of your online community, and they aren’t likely on your email lists. Simply put, they aren’t a part of your audience yet. The industry’s inability to reach underserved audiences relates directly to our lack of market research and a general overreliance on audience research.

 

Organizations need both types of research, but our lack of MARKET research risks big sustainability issues

Audience research has tremendous value for perfecting programming, but that’s not where the industry needs the most help right now. In order to remain solvent and relevant in today’s world, cultural organizations desperately need to engage new audiences.

Unlike audience research, market research helps organizations find out who is NOT visiting and why they aren’t visiting. This is a big deal because organizations are doing a really not-awesome job reaching new and emerging audiences! Not to mention, cultural organizations (museums, performing arts organizations, aquariums, etc.) are experiencing a phenomenon called the negative substitution of the historic visitor. This means that for every one person who profiles as a historic visitor who leaves the market, they are being replaced by less than one person. Millennials are not visiting cultural organizations at representative rates, and engaging people of diverse racial and ethnic backgrounds – who make up more and more of the US population each year – is perhaps our greatest opportunity to secure our futures. In other words, the demographic makeup of the US is changing and we really need to get better at reaching new audiences and making them our new regular audiences.

 

It is impossible to fully understand market perceptions of your organization and reach new audiences if you only study the people who are already in your community.

To succeed, organizations need both types of research.

 

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

 

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

Posted on by Colleen Dilenschneider in Community Engagement, Financial Solvency, Nonprofit Marketing, Sector Evolution, Trends 3 Comments

Why Cultural Organizations Are Not Reaching Low-Income Visitors (DATA)

Why Programming for Low-Income Audiences are Unsuccessful

Data suggest that some types of cultural organizations are perceived as more welcoming than others. Here’s how we could do better.

With missions to educate and inspire audiences, many visitor-serving cultural organizations (e.g. museums, zoos, aquariums, theaters, symphonies, etc.) aim to serve low-income audiences in addition to their high-propensity visitors. So, just how good of a job are organizations doing when it comes to engaging lower-income audiences, and how can we make it even better?

Attitude affinities are a way of quantifying how the market perceives an organization in terms of its hospitableness and attitudes towards certain types of visitors. In summary, attitude affinities inform responses to visitor questions such as, “Is this type of organization for people like me? Do people like me ‘fit-in’ at this type of organization? Are people like me made to feel welcome and comfortable at this type of organization?” Extant data indicate a strong correlation between attitudes affinities and intentions to visit an organization. If people don’t feel welcome at an organization, then they are less likely to visit that organization.

IMPACTS quantifies attitude affinities on a 1-100 continuum, whereby the higher the value, the more welcoming (or greater affinity) a visitor perceives the organization. Data indicate that intentions to visit decline when attitude affinity-related metrics drop below 63 on this 100 point continuum. Due to this observed decline in intentions to visit, persons reporting attitude affinities ≤62 are generally not considered to be likely visitors because they do not feel welcomed by the organization.

Certain types of organizations seem to struggle more with negative attitude affinities as a barrier to onsite engagement than do others. Before we dive into the data, it is worth noting the attitude affinities have nothing to do with content – these are not measures of if people prefer animals to art. These are measures of peoples’ perceptions of feeling welcome at any organization. In other words, some organizations may defensively blame these numbers on a phenomenon innate to their content, but that’s generally not the case. After the data, I’ll discuss this a bit more. For now, let’s dive in!

 

IMPACTS - Art museum attitude affinities

As represented in the above chart, 552 of the 1,385 person sample population (39.86%) indicate attitude affinities ≤62 – suggesting that for four of 10 adults, a perception of not feeling welcome at an art museum poses a significant barrier to their onsite engagement. Remember: these metrics don’t even begin to contemplate other barriers like content interest/relevance, transportation, or schedule (a key barrier for general audiences). Out of the gate, four of 10 members of the US market don’t feel welcome in an art museum. But, hey, it’s not just art museums…

 

IMPACTS - History museum attitude affinities

510 of the 1,372 person sample population (37.17%) indicate attitude affinities ≤62. The data indicate that history museums are perceived to be slightly more welcoming to lower income audiences than are art museums.

 

IMPACTS - Science museum attitude affinities

448 of the 1,390 person sample population (32.23%) indicate attitude affinities ≤62 – suggesting that for approximately three of 10 adults, a perception of not being welcome at a science museum or science center poses a significant barrier to their onsite engagement.

We have combined science centers and science museums because the market generally does not differentiate between these two types of organizations. This lack of differentiation may sound like blasphemy for folks working in a science center or science museum, but the market doesn’t parse the nuance that may differentiate these types of organizations. (Preempting a question: No – the data is not meaningfully different when science centers and science museums are separately distinguished for this type of analysis.)

 

IMPACTS - Aquariums attitude affinities

300 of the sample size of 1,335 persons (22.47%) indicate attitude affinities ≤62 – suggesting that for approximately two of 10 adults, a perception of not being welcome at an aquarium poses a significant barrier to their onsite engagement. Comparatively, this is excellent news for aquariums “walking their talk” in terms of being seen as welcoming places! Loyal KYOB readers know that aquariums serve a bit like crystal balls for the future of cultural organizations because they tend to be both the most for-profit and nonprofit among their visitor-serving brethren. Market forces dictate that aquariums, as a simple means of business survival, often need to address changing attitudes, behaviors, and engagement strategies years before other types of organizations that may rely on large endowments and government support.

 

IMPACTS - Zoos attitude affinities

277 of the 1,512 persons sampled (18.32%) indicate attitude affinities ≤62 – suggesting that for less than two of 10 adults, a perception of not being welcome at a zoo poses a significant barrier to engagement. Good work, zoos!

 

Orchastra and symphony attitude afffinities

703 of the 1,540 persons sampled (45.65%) indicate attitude affinities ≤62 – suggesting that for nearly half of the sampled adults, a perception of not being welcome at an orchestra or symphony poses a significant barrier to their onsite engagement. Yikes!

However, for several orchestras and symphonies, this data would hardly qualify as surprising. Many orchestras and symphonies have been challenged by dwindling audiences and are experimenting with creative engagement strategies to better cultivate new constituencies. These data may suggest that overcoming the barrier to engagement may have less to do with promoting a new artist or performance, and more to do with promoting effective access programming.

 

In sum, what do these negative attitude affinities look like among the cultural organizations discussed here? At the risk of inserting one of the most glass-is-half-empty charts to ever grace KYOB (but in the spirit of “real talk”) here’s a summarized analysis: (Don’t worry! There’s a lesson here for improvement so we can move toward beating this! More after the chart…)

IMPACTS - Negative attitude affinities

Why are attitude affinities better for some organizations than for others? There’s a possible, data-informed reason. But first, I need to myth-bust the immediate go-to reason that is probably popping into many-a-reader’s head right now:

 

A) Attitude affinities do not generally correlate with admission price

It was my first thought, too. (Or I guess it would have been if I didn’t do so much data-driven work with regard to admission pricing). Data suggest no correlation between admission cost and attitude affinities. The average visitor to an aquarium reported paying approximately 52% more to visit than did a visitor to an art museum, and also reported 73% lower negative attitude affinities. In other words, persons who don’t feel welcome at an organization don’t necessarily do so because of cost-related factors.

It is important to remember that admission price is not an affordable access program. These things are different. Admission pricing enables successful affordable access programming by supplying the funding required to actually serve low-income audiences – a thing that many organizations (even free ones) aren’t doing very well.

IMPACTS - Average admission price paid

 

B) Attitude affinities DO correlate with lack of awareness of access programming

Interestingly, when it comes to tactics to mitigate cost as a factor to visitor engagement, households reporting annual incomes >$250,000 are significantly more likely to be aware of an organization’s affordable access programming than are households with annual incomes <$25,000. In other words, there are more people annually earning $250,000 receiving messaging about access programming than the people that actually need the access programming! In the case of orchestras and symphonies, high-income households are 3.35x more likely to be aware of an organization’s affordable access programming than are low-income households for which these programs are created!

IMPACTS - Access programming awareness

Low-income audiences that most need access support or assistance are comparatively unaware of access programming opportunities from these types of organizations. BUT that doesn’t mean that those organizations aren’t offering them (as evidenced by the relatively high awareness of these access programs among households with annual incomes >$250,000).

The reason why this is happening is that same reason why “free days” to cultural organizations attract people with higher average annual incomes than do non-free days: Organizations market access programs to high-propensity visitors and historic audiences because those are the folks that they know how to reach. This is happening because organizations generally neglect making meaningful, sustained investments in promoting these programs to the audiences whom they most intend to serve.

Underserved audiences are by their very definition not currently engaging with our organizations. They are not onsite to complete audience research surveys. They are not on our email lists. They are not following us on Facebook. They don’t like our Instagram posts or retweet our messages. So when we boast of our affordable access programs using these channels, we are mostly speaking with our current constituencies.

Engaging underserved audiences requires a sincere and sustained investment. We can create the greatest access programming possible, but if the people who need it aren’t made aware of it, they are unlikely to engage with our organizations.

In order to reach these audiences, we need to have a different messaging strategy than we do to reach other types of visitors. This means building relationships with leaders in lower-income communities to help spread the word, partnering with organizations that already serve these audiences (e.g. churches, schools, libraries, etc.), and actually thinking about how these hopeful audience members make decisions. It is completely different than the marketing and PR that you are already doing in order to reach non-affordable access audiences (i.e. the people that you need to engage in order to keep your lights on and make that messaging to lower-income audiences possible).

Lack of access programming awareness is not the only barrier to engagement for low-income audiences. There are a whole host of barriers to access that cultural organizations should work to overcome (including schedule, relevance, content disinterest, transportation, etc.). These data focus on attitude affinities and do not aim to resolve other barriers to engagement. That said, it stands to reason that access may be the key issue on the critical path to engagement. After all, if audiences are not aware that you offer an access program for them, then, well, they aren’t aware that you offer an access program for them. These folks may not know that you are doing anything to reach them in the first place!

On the surface, these data may look like bad news – but they’re not. This is potentially good news because we can see something that is happening and how it may be unknowingly sabotaging our access programming. More importantly, we can fix it! This information allows us to stop spinning our wheels and focus on where our access programming may be getting stuck – in our messaging.

 

Like this post? Please check out my YouTube channel for video fast facts! 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 6 Comments

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

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

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

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

 

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

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

KYOB- Nonprofit recognition data

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

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

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

 

2) The market is sector agnostic

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

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

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

 

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

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

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

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

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

 

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

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

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

 

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

 

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

 

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

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

Most Popular Posts of 2015 For Cultural Organizations

Most Popular Posts of 2015 for Cultural Organizations

From data on free admission to donor desires – here are the top ten most popular posts on Know Your Own Bone in 2015.

Happy New Year! I hope that 2015 was a great year for you and your organizations! 2015 brought many new adventures on this front: speaking engagements, lectures, remarkable projects, travel and conversation with amazing clients across the globe, and the launch of Know Your Own Bone Fast Facts videos and my presence on YouTube.

I am grateful for all of the wonderful attention, link-love, thought-fuel, and shop-talking that Know Your Own Bone readers have provided and continue to provide. I write Know Your Own Bone because I (with the support of IMPACTS (the company that patiently puts up with my asking, “Is this information proprietary?!” during every interaction)) believe that information that can be used to help move cultural organizations forward should be shared so that it can best do its duty. I hope that this little corner of the Internet has been helpful to you and your organizations- and I look forward to connecting with even more of my incredible readers and their mission-driven organizations in 2016. There are a lot of great projects in the works for this upcoming year thanks to all of the attention that Know Your Own Bone is receiving and I cannot wait to share them with all of you!

My favorite thing that I’ve noticed about KYOB readers is that they are curious leaders who aren’t afraid to ask hard questions within their organizations.  I love that.

In keeping with my annual new year tradition of posting the year’s most popular posts, here are the (all data-based) articles on Know Your Own Bone that received the most attention in 2015:

 

How Free Admission Really Affects Museum Attendance

Spoiler alert: It doesn’t much. And misunderstanding this may jeopardize industry solvency. Free admission is far from the engagement cure-all that some of its supporters believe it to be. Here’s the data.

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What Ultra Wealthy Donors Consider Before Supporting a Nonprofit

How can nonprofit organizations engage high net worth board members and donors? To get to the bottom of this million-dollar question, we asked these individuals themselves.

 

Three New Pricing Realities For Visitor-Serving Nonprofits in the Twenty-First Century

It’s hard for cultural organizations to exist (let alone thrive) in the long-term without a sustainable revenue strategy that optimizes pricing. Want to keep moving your mission moving forward and your doors open? It’s time to end the debate on these pricing-related topics.

 

Free Admission Days Do Not Actually Attract Underserved Visitors to Cultural Organizations

In reality, free days often do the very opposite of mission work.  It’s true: Free admission days do not usually engage affordable access audiences. Here’s data that should make organizations think twice about their free days and underserved audience engagement strategies.

 

The Game Has Changed: Nonprofits Now Compete With For-Profits

An organization’s nonprofit status may carry neither the perceptual weight nor the relevance that many leadership teams imagine…and nonprofits may be sabotaging their own opportunities for support because of it.

 

Audience Acquisition: The Cost of Doing Business for Visitor-Serving Organizations

Optimizing marketing investments are increasingly a product of math and science (decidedly not “intuition” or “trial and error”). So here it is: the data-informed equation for how much money organizations should be spending in order to maximize opportunities for financial success.  (Heads up: I’ve got a fast facts video of this information coming to you all during the first week of 2016. Get pumped!)

 

Death By Curation: The Exhibit Strategy That Threatens Visitation and Cultural Center Survival

Blockbuster exhibits sound nice, but they often create a negative cycle that threatens the solvency of the visitor-serving organizations that deploy them. The “bigger, better, more expensive” business model is financially unsustainable and it alienates audiences.  Check out the data.

 

Why Millennials May Be The Most Valuable Generation for Cultural Nonprofits

The sheer size of the millennial generation makes them a critical target audience, but data suggest that millennial visitors may actually be the best visitors. Here’s why.

 

Influencing Leadership: Three Findings to Effectively Communicate with Cultural Executives

Potentially innovative, groundbreaking ideas risk dying on the vine if they aren’t understood and supported by an organization’s – and an industry’s – leadership.  Before you can change the world, you likely need to change some minds. Here’s data that will help.

 

Visitation to Increase If Organizations Evolve Engagement Models

Attendance to cultural centers is on the decline, but data suggest that forward-facing organizations may see improvements by 2020 if they move forward intelligently. Here’s what organizations need to know.

 

Thanks again to each and every one of you for following along with KYOB! Here’s to a great 2016 for all!

 

Interested in getting blog posts, tips, and some silly cultural center/nonprofit geekery on your social media channels? Like my Facebook page,  follow me on Twitter, or subscribe to my YouTube channel. 

Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Sector Evolution, Trends Leave a comment

The Membership Benefits That Millennials Want From Cultural Organizations (DATA)

Don’t have many millennial members? Maybe you aren’t offering a membership program that millennials actually want.

If millennials (folks born between 1980 and 2000) are the largest generation in human history, why don’t they make up a vast majority of members for cultural organizations? Today’s Know Your Own Bone – Fast Facts video dives into research about the kinds of membership benefits that this generation actually wants.

If you think that millennials just don’t want to be members to cultural organizations, then think again. IMPACTS data reveal that millennials report more interest in joining many cultural organizations as members than do their Generation X and Baby Boomer predecessors. Here’s the data (regarding zoos, aquariums, and museums in this case) courtesy of the National Awareness, Attitudes and Usage Study:

IMPACTS data- Membership interest by age cohort 2015

 

And it’s not just a “this year” thing. Interest in membership among millennials is actually on the rise. Notably, interest in memberships among Baby Boomers is on the decline.

 

IMPACTS generational membership interest multi-year

 

In terms of potentially engaging millennials as members, this is great news! But the findings would be even more promising if more organizations knew what it is that millennials want from a membership to a cultural organization. We looked into this question on behalf of a large (annual visitation >1million people) aquarium client with a conservation mission. We found that what millennials want from a membership is a tad different than what older generations want. Take a look:

 

IMPACTS data- Primary benefits of membership

Notice that, with the exception of free admission, the primary benefits of membership according to millennials are less transaction-based than are the responses from their preceding generations. Millennials care about “belonging,” “supporting,” and “impact.”

This information should inform how cultural organizations go about creating and marketing membership programs to these audience members. If we keep focusing on the benefits that millennials don’t actually value – and miss opportunities to highlight our mission impact – then it may be difficult to create long-term relationships with these young supporters. These responses from millennials may not come as a surprise. After all, in today’s world, your mission matters – and carrying out that mission is critical for an organization’s solvency. 

Want to attract millennial members? Make sure that you have the types of memberships that millennials value.

 

Like this video? You can check out more on my YouTube channel. Here are a few Fast Fact post that you might also enjoy:

 

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Posted on by Colleen Dilenschneider in Community Engagement, Fast Facts Video, IMPACTS Data, Millennials, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends Leave a comment

A Cure For Point of Reference Sensitivity: Why Visitor Satisfaction For Your Nonprofit Is Lower Than It Could Be

opinion_of_our_productIMPACTS data indicate that visitors to zoos, aquariums and museums (and other visitor-serving organizations such as historical sites, theaters, symphonies, etc.) who have never previously visited any other like organization rate their experiences 18.1% higher in terms of overall satisfaction and 14.8% higher in terms of value for cost of admission than visitors who had previously visited any other zoo, aquarium, museum, etc. Further, as the number and frequency of one’s visits increases, a visitor’s level of satisfaction and perceived cost for value of admission tends to decrease.

This is just fine if your art museum (for instance) is the first art museum that your every guest has ever visited, but it has a host of potential repercussions on your organization’s bottom line (like tackling a social mission and achieving long-term financial sustainability) if you’re the second art museum someone visits. Or third, or fourth, or fifth….

This phenomenon is known as “Point of Reference Sensitivity” and suggests that the market’s expectations are being constantly reframed by recent experiences. In short, as the market gains familiarity with an experience, it becomes increasingly harder to “impress” the market.

So, what can be done to minimize the deleterious effects of Point of Reference Sensitivity? [I will henceforth refer to Point of Reference Sensitivity as “PoRS” because a) that’s just the kind of relationship that we’ve developed and b) it sounds a bit like a disease, which may be appropriate.] PoRS is an important consideration for visitor-serving organizations with regard to key performance indicators, and not even the very best visitor-serving organizations in the world are immune to its negative effects. The commonality of PoRS, however, does not mean that it is unimportant to your own organization’s reputational performance. Just because many other organizations suffer from PoRS doesn’t “even the playing field.” The market – not other organizations – are the ultimate arbiters of your organization’s success…and data suggest that despite your best efforts (great exhibits, well-trained staff, thoughtful access programs), you are still likely to experience a decline in satisfaction over time from a sizable portion of your audience simply because folks visited other organizations before they walked in your door.

The good news is that strategic prioritization and effective PR/communications practices may provide both prophylaxis and remedy against even the most stubborn case of PoRS.

What causes PoRS in visitors?

Qualitative research related to these findings suggest that PoRS may be due, in part, to a “been there, done that” mentality that tends to accompany repeat visitation to “like” organizations. The research suggests that this sentiment stems from a perceptual belief that “like” organizations (think of one zoo compared to another zoo, or one art museum compared to another art museum) share an elemental “sameness” that challenges the market’s ability to differentiate the unique attributes of individual organizations. Further exacerbating PoRS is the premium that we tend to psychologically ascribe to “firsts” – first love, first car, first baseball game, first kiss. When someone first visits a zoo, it may be the first time that they have ever seen live animals up close, but upon visiting a second zoo, there is a loss of “newness of experience.” There may be other factors that contribute to PoRS: Perhaps the first zoo visited is in an individual’s hometown and is a point of civic pride. Perhaps the newness of the experience is matched with a memory of sharing the experience with a favorite friend or family member, thus creating a unique, personal remembrance that is difficult to duplicate and impossible to top.

How is PoRS hurting your organization?

Reputation is a leading driver of visitation, and reviews from trusted resources (such as word of mouth recommendations from friends, peer review sites like Yelp or TripAdvisor, and even social media) are the strongest contributing factors to building your reputation (12.85x greater than any paid advertising channel). Aside from the more obvious impacts of lower guest satisfaction metrics and potential declines in the likelihood of repeat visitation, PoRS may also affect your organization’s word of mouth value. This may result in securing fewer visitors, fewer opportunities to cultivate donors with affinity for your organization, and fewer evangelists to amplify and promulgate your organization’s mission.

How can your organization overcome PoRS?

Data based on visitor feedback suggest that the solution may be very simple in theory: Be more unique. One way to do this is to utilize social media and other communication resources to underscore what differentiates your organization as a unique experience. Focusing more on your mission – as opposed to your existence as a “destination” – may help. An emphasis on mission-related content may allow your organization to increase its relevance beyond being a visitor-serving destination on real-time, online platforms by more actively defining the public perception of your museum. If your organization can cultivate a reputation as “more than just a visitor-serving organization” prior to a guest’s arrival, then your organization may also improve its satisfaction-related metrics.

It seems that our mothers were onto something – “You’re judged by the company that you keep.” PoRS is particularly insidious amongst the perceptual middle ranks of visitor-serving organizations – those places that are so “destination-focused” in their communications that they end up positioning themselves as “just another museum” (or zoo, or aquarium, or botanical garden, etc.) The overcome may be in elevating your organization from the sameness of a sector by differentiating not only your experience, but by the means by which you achieve your mission (the impacts that you have and the differences that you make).

As stakeholders for visitor-serving organizations, we tend to believe that the entities that we serve (or support, or visit) are unique and superlative.  Our challenge – and, indeed, our opportunity – is to similarly articulate these differences to our visitors so that they, too, consider us as more than a place. What makes your organization unique is probably not the artifacts that you house, the collections that you keep, or the building within which you keep them. What makes you unique is the outcomes that you achieve by fulfilling your mission… and communicating these outcomes is the best defense against a nasty case of PoRS.

 

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Posted on by Colleen Dilenschneider in Community Engagement, Financial Solvency, IMPACTS Data, Sector Evolution, Trends 1 Comment

Death by Curation: Why the Special Exhibit Isn’t So Special Anymore (CASE STUDY)

Museums often develop a cycle wherein they rely heavily on visitation from special exhibits – rather than their permanent collections – in order to meet their basic, annual goals. This is a case of “death by curation” – bringing in bigger and bigger exhibits in order to keep the lights on. Museums often fail to recognize that the best part of the museum experience, according to visitors and substantial data, is who folks visit and interact with instead of what they see. Understanding that a museum visit is more about people than it is about objects can help museums break the vicious cycle of “death by curation,” and help them develop more sustainable business practices.

 

The Myth of the Special Exhibit Strategy

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.

We know the story well: a museum decides to host an exhibit and develops exhibit-related messaging to promote visitation to the exhibit. The museum sees a spike in attendance, which dips when the exhibit closes. The museum wants to hit these high numbers again so it hosts a “bigger” exhibit and hopes for the same visitation spike.

This is the beginning of a costly, ineffective cycle. Here are two misbeliefs that perpetuate this less-than-sustainable practice:

1. The museum comes to believe that it cannot motivate visitation without rotating increasingly “blockbuster” exhibits. And, by doing this, museums train their audiences only to visit when there is a new exhibit. Thus, they risk curating themselves into unsustainable business practices.

2. If the museum is successful with this strategy of rotating blockbuster exhibits, then the exhibits grow grander (it’s hard to keep improving on a “blockbuster” – have you ever known a sequel to cost less than the original?), and the attendant costs grow at unsustainable rates…but become conceptually necessary for the museum to keep their lights on.

What of the hopeful thought that visitors to blockbuster exhibits will become regular museum-goers? It is largely a myth. An IMPACTS study of five art museums – each hosting a “blockbuster” exhibit between years 2007-2010, found that only 21.8% of visitors to the exhibit saw the “majority or entirety” of the museum experience. And, of those persons visiting the sampled art museums during the same time period, 50.5% indicated experiencing “only” the special exhibition. This data indicates that these special exhibit visitors are not seeing your permanent collections and, thus, are missing an opportunity to connect with your museum and become true evangelists.

Even members, whom museums often assume are more connected to their permanent collections than the general public, have been trained to respond almost exclusively to “blockbuster” stimuli. To wit: The National Awareness, Attitudes and Usage Study recently completed in April 2011 indicates that of lapsed museum members with an intent to renew their memberships, 88.6% state that they will renew their memberships “when they next visit.” Of these same lapsed members, 62.5% indicate that they will defer their next visit “until there is a new exhibit.” In other words, museums have trained even their closest constituents to wait for these expensive exhibits in order to justify their return visit.

 

Case Study

I like to think of this as a sort of “Pavlov for the museum world” – except instead of inspiring behavior with a bell, we’ve decided to provide Monet, Mondrian and Picasso as stimuli. This is all perhaps well and good…but it isn’t sustainable.

Consider the 20-year attendance history of a museum client of IMPACTS (the company for which I work). Can you spot the “blockbuster” year?

In this example (which I selected because it is representative of the experience of many museums), the “blockbuster” exhibit of year 2004 resulted in a 47.6% spike in visitation. But, what is perhaps most telling is how quickly – post-blockbuster – the client’s annual visitation returned to its average level. Does this suggest that the client shouldn’t pursue another blockbuster? Well, they did. But, not with the expected results.

Let’s consider the same chart again – this time with the special exhibits costs by year also indicated:

Still drunk with success from their blockbuster exhibit in year 2004, this museum went to the “tried” (but, not necessarily, “true”) blockbuster formula in year 2009. As you can see, in terms of visitation, history decidedly did NOT repeat itself. This where it becomes additionally important to acknowledge that “expensive does not a blockbuster make.”(See the domestic box office receipts of “John Carter” for recent proof).

Another fun fact that will surprise absolutely no one in the museum world – audiences are fickle! Their preferences shift quickly and they become increasingly hard to please. In fact, first-time-ever museum visitors rate their overall satisfaction 19.1% higher than persons who have previously visited any other museum. In my business, we call this “point of reference sensitivity” – the market’s expectations, perceptions and tolerances are constantly shifting and being re-framed by its experiences. Think about it yourself: The FIRST kiss goodnight – a forever memory! The hundredth kiss goodnight – (still sweet, but) been there, done that.

 

Break the Cycle: Invest in People and Interactions

Knowing that who a visitor comes with is the best part of visiting a museum provides power for museums to break this cycle.

Instead of relying on the rotation of expensive exhibits, many successful museums instead invest in their frontline people and provide them with the tools to facilitate interactions that dramatically improve the visitor experience. Improving the visitor experience increases positive word of mouth that, in turn, brings more people through the door. Importantly, reviews from trusted resources (e.g. WOM) tend to not only inspire visitation, they also have the positive benefit of decreasing the amount of time between visits. In other words, people who have a better experience are more likely to come back again sooner.

The power of with > what has other positive financial implications for museums. If the institution focuses on increasing the overall experience (which, again, is a motivator in and of itself – as opposed to the “one-off effect” of gaining a single visit with a new exhibit), then the museum’s value-for-cost perception increases. In other words, it allows the museum to charge more money for admission without alienating audiences because these audiences are willing to pay a premium for a positive experience.

(For you mission-driven folks shaking your head about how this potentially excludes underserved audiences, this is where your accessibility programs will shine. It allows them to be more effective and increases their perceptual value as well.)

This isn’t to say that new content and engaging exhibits are not critical to a museum’s success. It is to say, though, that times are changing. To sustain both in terms of economics and relevance, museums must evolve from organizations that are mostly about “us” (what we have is special and you’re lucky to see it), to organizations that are primarily concerned about “them” – the visitors.

Like it or not, the market is the ultimate arbiter of a museum’s success. Those of us with academic pedigree, years of experience, and technical expertise may well be in a position to declare “importance,” but it is the market that reserves the absolute right to determine relevance. In other words, while curators still largely design the ballots, it is the general public who cast the votes. And, in the race to sustain a relationship with the museum-going public, the returns are in and the special exhibit isn’t so special anymore.

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

The 40 Most Viewed YouTube Videos from US Zoos, Aquariums and Museums

This post contains 20 embedded YouTube Videos. If you are receiving this article via email, please consider visiting this article on Know Your Own Bone in  order to play the videos. 

Social media video sites such as YouTube and Vimeo can be critical tools for nonprofits looking to encourage engagement regarding their mission and brand. This is no different for zoos, aquariums, and museums (ZAMs). In fact, with the double bottom line of spreading a mission and “pushing the gate,” these videos aim to serve a dual function. With the rise of Pinterest and a Facebook shifting its focus to prioritize engaging content, it seems as though we may be at a turning point with the way that we use social media. In other words, ZAMS may find themselves producing more and more organic and/or creative, timely videos than they have in the past.  We may be in the midst of this trend. Just check out the creative online initiatives that ZAMs took up for the 2011 holiday season.

In order to keep a pulse on YouTube views and subscribers in the ZAM community, I have compiled the “most viewed” videos from several institutions, which I chose by popular vote and visitation. While there are several similarities among the list in terms of type of videos with significant viewership, there is no magic formula for a popular video. I have compiled viewership information from twenty leading zoos, aquariums and museums. Here are the ZAMs that I monitored, in order of their number of subscribers (with links to respective YouTube channels):

Method: How did I decide this list? Recently, 10best.com held an open, online voting competition which allowed web users to vote for their top-ten favorite zoos, aquariums, and museums. I included #1 – #5 from the list of zoo, aquarium, and museum winners. Because this competition can be easily rigged by stakeholders, I also included a few of the most visited US museums that are recognized globally (MET, MoMA, ect), and I also added the San Diego Zoo and WCS in order to represent the highest-visitation zoos. I only recorded the top two most-viewed videos for each institution to prevent one organization from dominating this list and to provide a more inclusive overview. A thing to keep in mind while viewing these videos: while YouTube views provide an indication of the spread and share of a message/video, an institution’s subscribers (or, self-identified folks signing up to be kept in the loop on that organization’s video happenings), indicate a higher level of evangelism than views alone. In other words, subscribers (above) are a better score-keeper for folks looking to “rank” these organizations.The following article features YouTube videos from the organizations on this list based upon this methodology- It is not inclusive of all ZAMs and does not necessarily represent the ZAMs with the most views.

Of these institutions, chosen by popular vote and visitation, here is a countdown the YouTube videos that had the most views as of Sunday, March 4th, 2012: 

20. Tour the Georgia Aquarium (110,855 views)

Promotional video for the Georgia Aquarium

19.Primordial Soup with Julia Child at the Smithsonian National Air and Space Museum (119,627 views)

“Julia Child cooks up a batch of primordial soup and explains how these simple ingredients produce amino acids – the building blocks of life. This video played in the Smithsonian National Air and Space Museum’s Life in The Universe gallery from 1976 until the gallery closed.”

18. Stadivari Violin, “The Antonius,” Played by Eric Grossman at the Metropolitan Museum of Art (127,659 views)

This video features Eric Grossman performing the chaconne from JS Bach’s Partita no. 2 in D minor on a violin made by Antonio Stradivari in 1717.

17. A Day at Shedd Aquarium (146,026 views)

Promotional and informational video regarding a trip to the Aquarium. “Charting your course to a fabulous day at Shedd can be smooth sailing! We want to make it easy for you to plan your visit. From ticket prices to directions to daily dive times, visit www.sheddaquarium.org to connect you to all the information you need to come face-to-fins with the fun stuff.”

16. Fantasea at Shedd Aquarium (164,404 views)

Official trailer for “Fantasea” which premiered in October of 2009 at Shedd Aquarium. “Dolphins soar, belugas dance, and penguins parade in Fantasea, the new aquatic show at Shedd”

15. Cute Baby Sea Otters at Monterey Bay (223,852 views)

This video of baby sea otters at Monterey Bay Aquarium discusses the Aquarium’s Sea Otter Research and Conservation Program.

14. Seahorses Mating from the National Aquarium (233,026 views)

“Did you know it’s the male seahorse that becomes pregnant and delivers the baby seahorses? See how the female transfers the eggs to the male!” This risqué video was created as a Valentines Day promotion for special couple’s packages in 2011.

13. Pallas Cats at the Prospect Park Zoo (246,351 views)

“They may look like the fattest felines you’ve ever seen, but the Prospect Park Zoo’s new pair of Pallas cats, Nicholas and Alexandra, aren’t full on lasagna—they’re built for the chilly climate of central Asia.”

12. Freshwater Otter Plays the Piano at Monterey Bay Aquarium (254,925 views)

“Dua, an Asian small-clawed otter at the Monterey Bay Aquarium, plays the piano as a behind-the-scenes enrichment. This activity was created to give Dua something interesting to do and extend his feeding time, while showing off his species dexterity.”

11. Tim Burton MOMA Spot (270,928 views)

Promotion for the Tim Burton exhibit on view at MoMA November 22, 2009-April 26, 2010

10. Beco’s Tub Toy at the Columbus Zoo (276,898 views)

“So what kind of toy do you give a 600 pound baby elephant? How about a 2-foot round blue plastic ball? Enrichment items such as Boomer balls are commonplace in zoos today. These toys and activities add variety and exercise to the animals lives and help to encourage their natural behaviors. As for Beco and his Boomer Ball that enrichment has double benefits it also helps mom Phoebe get a break from looking after 600 pounds of bouncing baby elephant energy.”

9. Jell-O Enrichment for Squirrel Monkeys at the Bronx Zoo (332,503 views)


“In the Bronx Zoos Monkey House, squirrel monkeys receive a holiday treat unlike anything they’ve seen-or felt-before. Keepers offer them Jell-O with blueberries, a jiggly concoction that immediately stimulates their foraging instincts.”

8. Kookaburra Calls at the Cincinnati Zoo (416,869 views)

“The Kookaburra has one of the most identifiable calls of all birds. The Cincinnati Zoo has one trained for its Wings of Wonder bird show, to call on cue.”

7. Otter Pups Swim Lesson at the Columbus Zoo (667,013 views)

“Otter pups arent born with any innate knowledge of how to swim or handle themselves in the water. And since otters depend on water to survive, mom has to teach her babies how to be as home in the water as they are on land. In March, Audrey, the Zoos North American river otter female, gave birth to three healthy male pups. At around 30 days old, the pups are strong enough to begin their swimming lessons although sometimes, theyre not the most enthusiastic students much like kids everywhere.”

6. Voice Piece for Soprano & Wish Tree at MoMA. Summer 2010 by Yoko Ono (802,659 views)

A video of Yoko Ono performing in conjunction with the exhibition Contemporary Art from the Collection at the Museum of Modern Art. The exhibition was on view through May 9, 2011.

5. Cheetah Sets Record at Cincinnati Zoo (812,604 views)

“Many have asked why our cheetah only averaged 36.5 mph. This was a run based on time, not top speed. A sprinter can be faster than another but if he stumbles and doesn’t finish it doesn’t matter. There is a cheetah in South Africa, Zaza who will be doing the same thing in October to try to beat Sarah. The cheetahs are starting from zero, not full speed because that’s how the previous time of 6.19 seconds was set. The previous rules also stated that the record was based on 3 runs, so even though we are sure Sarah can run faster we don’t get a redo. People have also commented on the lure not being far enough ahead, if the lure gets to far away the cheetah will stop, not wasting energy on something it can’t catch.”

4. Baby Hippo Ballet at the San Diego Zoo (888,474 views)

This video is simple, organic, short, and has an outstanding number of views. The popularity of this view may illustrate that simplicity (without too many bells and whistles) can go a long way.

3. Baby Elephant Born at the San Diego Safari Park (923,340 views)

On March 11, 2007 17-year-old African elephant Litsemba gave birth at the Safari Park. This video shows the little guy and features commentary from staff experts.

2. Science Bulletin: Whales Give Dolphins a Lift from the American Museum of Natural History (1,559,880 views)

This video is also from the American Museum of Natural History. “Many species interact in the wild, most often as predator and prey. But recent encounters between humpback whales and bottlenose dolphins reveal a playful side to interspecies interaction. In two different locations in Hawaii, scientists watched as dolphins “rode” the heads of whales: the whales lifted the dolphins up and out of the water, and then the dolphins slid back down.”

1. The Known Universe by the American Museum of Natural History (9,856,645 views)

This video by the American Museum of Natural History takes viewers from the Himalayas through our atmosphere and the inky black of space to the afterglow of the Big Bang. Every star, planet, and quasar seen in the film is possible because of the world’s most complete four-dimensional map of the universe, the Digital Universe Atlas that is maintained and updated by astrophysicists at the American Museum of Natural History. This film was created by the Museum as part of an exhibition,  The film, created by the Museum, is part of an exhibition: Visions of the Cosmos: From the Milky Ocean to an Evolving Universe, at the Rubin Museum of Art in Manhattan

Most Viewed YouTube Videos from US Zoos, Aquariums and Museums: #21 through #40

21.  Moving the U-505 Submarine. Museum of Science and Industry– 107, 841 views. Over several days, the team guided the U-505 submarine 1,000 feet to its new home. From the Museum of Science and Industry in Chicago

22. September 11 FAA Closure of US AirspaceSmithsonian National Air and Space Museum – 99,037 views. This animation was created by NASA using FAA air traffic control data from September 11, 2001. It shows the rapid grounding of air traffic across the US, and redirection of incoming international traffic, in response to the 9/11 terrorist attacks.

23. Sharks Invade Georgia Aquarium. Georgia Aquarium – 86,544 views. A video celebrating the Aquarium’s new sand tiger sharks.

24. The Harvesters. Metropolitan Museum of Art – 83,823 views. Metropolitan Museum staff members discuss The Harvesters (19.164) by Pieter Bruegel the Elder with producer Christopher Noey.

25. See what wonders await you at the National AquariumNational Aquarium – 78,518 views. Promotional video of the Aquarium experience.

26. Ford Model T Assembly Line. The Henry Ford Museum – 64,472 views. Opens with shields and running boards being positioned and secured, followed by views of Highland Park workers on the assembly line assembling the Ford Model T. Includes crane lowering chassis to body, securing the fenders, installing the radiator, placing the hood, installing and filling the gas tank, assembling the dash, and attaching wheels and tires. Close-ups of engine, transmission, starting button, and generator. In closing, a Model T is driven on a deeply rutted road.

27. Jellyfish Gallery Video Preview. Newport Aquarium, Cincinnati – 38,861 views. The Jellyfish Gallery contains eight tanks containing hundreds of these amazing creatures, as well as new, fun interactive elements and state-of-the-art displays.

28. The Hope Diamond. Smithsonian National Museum of Natural History – 34,584 views. “45.52 carats – The Hope Diamond–the world’s largest deep blue diamond–is more than a billion years old. It formed deep within the Earth and was carried by a volcanic eruption to the surface in what is now India. In 1958, Harry Winston donated the Hope Diamond to the Museum, and it now belongs to the people of the United States.”

29. QuadricycleThe Henry Ford Museum – 28,108 views. A video of a man riding a quadricycle in Greenfield Village.

30. MEanderthal. Smithsonian National Museum of Natural History – 22,511 views “Try morphing yourself backward in time with MEanderthal, the Smithsonian Institution’s first-ever mobile app. You might be surprised when you see your face transformed into the face of an early human.”

31.  Month at the Museum Finalist: Kate McGroarty. Museum of Science and Industry– 18,545 views. This was Kate’s original audition video for the museum’s first, famous Month at The Museum initiative.

32. Tree Kangaroo Feeding. Saint Louis Zoo -18,132 views. In this soundless video, “Zookeepers use target training with Matschie’s tree kangaroos Kasbeth and her 1 ½ year old son Teptep. The ‘roos are given treats when they touch their nose to the object on the end of the target. Training is enrichment for the animals and gives the keepers the opportunity to observe each animal closely.”

33. Tree Kangeroo JoeySaint Louis Zoo – 16,684 views. “A little Zoo present has popped up just in time to give a pounce of holiday cheer! “Nokopo” (pronounced NOH-koh-poh), a female Matschie’s tree kangaroo joey, has begun poking her head out from within her mother’s pouch at their habitat in Emerson Children’s Zoo at the Saint Louis Zoo in December, 2010.”

34. Lego Master Builder at Work. Children’s Museum of Indianapolis – 14,713 views. Speed video. of builders creating a castle for The Children’s Museum of Indianapolis traveling exhibit – Lego Castle Adventures. The museum’s second most popular video is similar.

35. A King is Born. Newport Aquarium, Cincinnati – 13,303 views. “After the announcement of three new Gentoo chicks last month, Newport Aquarium revealed another hatching: a King penguin chick was hatched at the Aquarium. Making it noteworthy, this King chick is a second-generation Newport Aquarium penguin. Its parents were both born at the Aquarium four years ago.”

36. Polar Slide. Phoenix Zoo – 4,938 views. ” 200 Feet of Excitement. The Phoenix Zoo and Summit Adventure Systems bring you simulated snow technology created by Neveplast in Italy. The surface is used by professional skiers and snowboarders in Europe to train in the off-season. We are the first zoo in the world to have this technology and we’re very excited about it! The Polar Slide is fun for all ages! It’ll have you and your kids smiling the entire way down the 200 foot track!”

37. Bear. Oklahoma City Zoo – 3,428 views. Promotional video to visit the bears at the Oklahoma City Zoo.

38. Lion. Oklahoma City Zoo – 3,385 views. Promotional video to visit lions at the Oklahoma City Zoo.

39. Journey Tribute Band. Children’s Museum of Indianapolis – 2,343 views. ” Frontiers, the nation’s top Journey Tribute Band, helped us kick off our rockin’ summer at the opening of Rock Stars, Cars, and Guitars!”

40. Meerkat PSA. Phoenix Zoo -1,846 views. “A little Zoo present has popped up just in time to give a pounce of holiday cheer! “Nokopo” (pronounced NOH-koh-poh), a female Matschie’s tree kangaroo joey, has begun poking her head out from within her mother’s pouch at their habitat in Emerson Children’s Zoo at the Saint Louis Zoo in December, 2010. “

Posted on by Colleen Dilenschneider in Digital Connectivity, Trends 4 Comments

According to Visitors, THIS is the Best Part About Going to a Museum (Hint: It’s Not The Exhibits)

When it comes to “the best thing about visiting a zoo, aquarium or museum,” visitors indicate that having a shared experience with friends and family is most important.

I’m pleased to have the opportunity to share a tidbit of data uncovered by IMPACTS Research & Development (the company for which I work, folks)! The data below was first published by the National Awareness, Attitudes and Usage Study (NAAU) and, since April 2011, it has been re-confirmed in six, separate, proprietary studies on behalf of various visitor-serving organizations with which we work. The image below shows unprompted responses to the question and are displayed with the index value for each response. The bottom line? People don’t go to a museum to see the newest exhibit… people go to a museum to see the newest exhibit with people they care about.

Of course, museum marketers are selling an experience, but the trick may be for museum marketers to understand that they are selling a personal experience.

The “with > what” mentality may turn the museum industry’s self-perception on its head. Traditionally, museums (especially certain kinds, such as art and history museums, for example) may be perceived as quiet places preserved in the past and shielded by silence and white walls.  Museums have been seen as intellectual spaces with curators serving as great academic gatekeepers. The ‘museum experience,’ to those of us involved in creating and shaping it, often revolves around the exhibits, the artifacts, the collection…and it is about those things. For visitors, however, the experience is more than an intellectual quest; it revolves around the entirety of the experience and the company attending with the visitor.

This does not mean that the “what” isn’t important. I frequently write about the evolving role of the curator; how in the information age, everyone is a curator and how – particularly for engaging Millennials – highlighting your curator is less important than ever. Although accessibility and self-curation are becoming increasingly important, having and promoting these artifacts and collections can certainly  inspire visitation. They are the things (“whats”)  that people come with their loved ones to see. In other words, the  “with” here may not be as strong without the existence of the  museum’s “what.” (…Did you follow me there?)

Take a look at a visitor serving organization that has shared the love…  To be a museum marketer and miss this critical half of the equation for visitor motivation is a major loss. In fact, institutions that miss this will be limited, especially as the information age continues to reveal increased communication based on public sharing and online brand identity. So who is already onto this information?  To name an example that I’ve referenced before, Monterey Bay Aquarium used the “with” to promote their “what” in their extremely successful Share the Love campaign. The aquarium  got creative and pulled out all the stops with this campaign, and their concept of “sharing the love” – or sharing the experience of visiting the aquarium –  was a hit.  (Notice the  silhouettes, which allow viewers to place themselves into the pictures and videos for the campaign!)

Moreover, there’s empirical evidence that members of Generation Y may be particularly receptive to marketing messages that promote sharing visitor experiences. In particular, Millennials seek existential experiences.  Sometimes this young demographic gets a bad rep for moving conversation online (“Get off of Facebook and go hang out outside”), but this demographic is actually upping the demand when it comes to in-person experiences as well.

In my line of work, this kind of data on visitor motivation  informs significant decisions regarding discounts, exhibit cycles,  reaching new audiences, and long-term planning (to name a few broad areas…). I look forward to delving further into some of the the implications of these findings in the upcoming weeks. Be sure to check back!

Posted on by Colleen Dilenschneider in Community Engagement, IMPACTS Data, Myth Busting, Nonprofit Marketing, Sector Evolution, Trends 7 Comments