Yes, as if it was brand new. Where would you start?
I would start with looking at my potential audiences and what they thrive on today. I would look at my community, its demographic make-up, its values, attitudes and beliefs and I would segment. I might identify those huge numbers of people who listen to music electronically, primarily using ear buds, irrespective of genre. I would examine deeply where they find their music, what they are listening to, how they listen to this music, when they listen to it, whether they share it with others and how, why they listen to their music, what music gives them, and what music gives them that nothing else in their lives does.
Then I would find out how they spend their days, how much time they spend being social and what they gain in their social interactions. I might see that there are grave pressures and stressors in people’s lives, and a wide range of worries and concerns that express themselves in various ways, including making people sick, feeling isolated and alone. I might think about how their current consumption of music via ear buds enhances these issues or alleviates them.
Then I might realize that the highest potential revenue is available in the 30 to 59 year age group – according to Statistics Canada data. I would use an existing geographic segmentation tool to understand demographics, values, attitudes and beliefs by postal codes, allowing me to see many dimensions of potential audiences.
I might determine that there are two different generations in this 30-year age span – Boomers and Gen Xers – who hold different generational values. I might decide that Gen Xers would be the sweet spot as they are less individualistic in orientation and I could foster and keep them as customers longer because they are younger. I would do this knowing that they tend to be more independent-minded even as they value communal spaces and social connections.
I would see that my target Gen Xers create, participate and engage in every dimension of life (socially, environmentally, politically, economically, artistically). I would see that they are sophisticated consumers who research, explore and sample online and by recommendation (both peer and paid recommenders). They are curious about new experiences and are excited to try out things they haven’t done before. I would see that they tend to look to be entertained in a friendly atmosphere rather than simply accepting others authority and doing as they are told without knowing why.
Then I would find out where this generation spends time and what their days, evenings and nights look like. Are they indoors in front of large screens or having family and social time, are they on the run using mobile devices as a primary interface while working hard, are they hanging out in coffee houses, bars and restaurants to get face-time, as they also chat and engage in social media to share with their wider community, are they in Yoga studios and fitness studios, spas and aesthetics shops where pampering is the order of the day and image is honed? Or do they work and worry about having enough money and resources to make ends meet? Different segments, micro-segments, would dominate in various activities and I might decide that I want to provide my solution – live orchestral classical music (ha!) – to all of them or some of them.
Then I might ask myself: how can I connect my brand new idea, never been seen before type of music making requiring perfect harmony among 40 to 100+ (!) musicians to these Gen Xers? How is my idea, that thrives on delicate sound (both in the highs and lows – qualities that are harder to appreciate and hear in compressed digital files), complex structure and intricate music making with a bewildering array of instruments, going to make these sophisticated, busy Gen Xers’ lives better, richer, more complete? What is the value Gen Xers would gain from such a formidable live experience? How is that value greater in comparison to other activities in their lives? How do I connect this live experience through online/mobile channels and make it irresistible? How will I secure true participation in the live music making?
Then I would decide what the business model is going to be, after all, getting that many musicians to play together will take considerable resources especially in the mid- to long-term. In essence, I would think about whether there can be economies of scale in my business model and what they are. For instance, I might realize that the live performance doesn’t scale well and I might search for ways to extend the live aspects to further monetize them. I might borrow from the playbook of other live events, whether its sports or pop and rock music.
I would look to other music experiences for inspiration, from the house concert to the stadium rock concerts. I would also look to the video game industry because it is highly participatory, the high-end spa experience because it does so well at pampering and getting me beyond my daily concerns, and the travel industry, both packaged and independent travel. And I’d think about styles of performance a lot.
This would eventually get me into the weeds of decision making: Would I put the musicians in a closed music making space, a concert hall, or would I put them outside or in community contexts? Would I have musicians be perfect technicians playing all the notes just so, or would I think about all that’s needed for an awesome performance experience for the audience? Would I ban the enthusiasm of my audience to the ends of long pieces, or would I encourage spontaneous outbursts of joy, delight, feedback? Would I dress musicians in black tails or would I allow their personalities to shine through with more than their hair styles? I would deeply consider the trade offs in each decision, talk to musicians and audiences and figure out how they would shape my brand.
Building such a bold idea from scratch would be awesomely exciting.
Finally, I would figure out how to build-in “creative destruction” mechanisms, so that the audience experience stays fresh and vibrant, rather than becoming narrowly defined by my initial magic formula. Everything tells me that there will be significant disruptive factors of all kinds, most of them outside my control, so that I might as well build in change and evolutionary leaps into the DNA.
Or in plain language: what are 4G speeds on LTE networks which started to come online in Canada in 2012 going to enable for theatre goers and dance attendees as well as presenters and producing companies?
During the first year of conducting Value of Presenting workshops there was little appetite to consider anything but the utility of social media in selling tickets. A breakthrough happened at the CAPACOA conference in January 2013 and now it feels like more and more presenters are beginning to see that web-based mobile technologies are going to create leaps in value for audiences and perhaps artists, producers and presenters. We presented at the Creative City Summit in Ottawa in May 2013 what we found out from Canadians and presenters about their use and attitudes to digital technologies and how Canadians’ views of what “live” means to them might be evolving.
At APAP|NYC we presented on this topic (PDF) this month as well and just last week the 2014 CAPAOCA conference featured a successful workshop with presenters on the opportunities, the values of both streamed and live experiences, facilitated by Frederic Julien from CAPACOA.
Watch this Youtube video by Alcatel-Lucent which was created in 2009 (!) to demonstrate their technology vision and emerging capabilities. The final minute shows a vision of a performing arts experience, begging for a presenting business model!
What will the successful strategic move look like?
Since the release of the final report of 2 years worth of study, consultation and research to shed new light on the individual, community and societal values, benefits and impacts of performing arts in the lives of Canadians and Canada, I have had many opportunities to turn toward the So, what? and the Now, what?
The Value of Presenting is living research that I apply in my consulting practice every day, spanning from brand strategy and audience development with Magnetic North: Canada’s Theatre Festival to strategic planning with Alianait Arts Festival to ongoing consulting with the National Arts Centre.
A large part is giving public presentations and leading workshops. This winter is rich with travel to help presenters and the whole presenting ecosystem contemplate a few ideas – and share my perspectives based on this extensive research and my strategy and marketing practice:
- Audience development: A roadmap to engaged audiences and vibrant communities
- Performing arts for all: Utopia or Destiny?
- The opportunities and challenges that the rapid evolution of communications technologies hold
- How to lead audiences to new artistic experiences
Here is a list of 2014 workshops and conferences, that are being organized this winter. As event webpages appear I will add links to session and registration information:
- APAP|NYC, New York, January 13
- CAPACOA , Toronto, January 22 – 25
- Northeastern University, Boston, February 12 – 13
- London Arts Council and partners, London, ON, February 26
- Atlantic Presenters Association, St. John’s, NL, March 2 to 3
- Atlantic Presenters Association, Charlottetown, PEI, March 5
- Atlantic Presenters Association, Halifax, NS, March 7 to 8
- Manitoba Arts Network, Portage La Prairie, MB, March 25
- Iqaluit, NU, March 31
- Symposium for Performing Arts in Rural Communities, Haliburton, April 24-27
In all of this work, I am discussion a vision of vibrant communities fueled by performing arts and its community-engaged partnerships.
November 25 was federal by-election day. And once again election polling became a big part of the story.
Here’s a Globe and Mail article which includes comments by the research company in question.
While it is critical of Forum Research’s miss in Brandon-Souris, it also says “most polls were significantly off the mark in recent provincial elections in Quebec, Alberta and British Columbia” indicating bigger issues at play than one company’s methodology.
And here’s some of the real time commentary via twitter during the vote counting.
(Disclosure: I have never been and am not involved in election polling of any sort. I do not vote in Canada because I am a permanent resident. As a researcher I am interested in the perhaps most public aspect of the research industry’s work, but one few researchers actually undertake, and its effect on the credibility of the industry as a whole.)