Engaging Diverse Audiences

Margaret Kadoyama's thirty years in the museum profession embrace extensive experience in audience development, community involvement and education strategic planning.

by Margaret Kadoyama

I was fortunate enough to attend the recent WMA conference in San Diego.   The conference provided at least one significant outcome for me — the discovery of a new report on engaging diverse audiences from the Japanese American National Museum, published in August 2009.

I attended a session on programming for Latino audiences.  The session, Museum Mission and Audience: Tips from Collaborations with Latino Communities, was moderated by Elizabeth Morin from Youth Arts and Education for the City of Los Angeles Department of Cultural Affairs.

The presenters were Lisa Sasaki from the Japanese American National Museum, Lorraine Yglesias from the Monterey Bay Aquarium, and David J. de la Torre from La Plaza de Cultura y Artes.   The session provided many great tools and tips for engaging Latino audiences, from David de la Torre’s articulate and compelling list of strategic issues (focus on mission, diversification of board and staff, marginalization, and cultural insensitivity, among others) to Lorraine Yglesias’s focus on marketing.

Lorraine shared some great resources, including the tip to subscribe to email reports from www.mediapost.com, which provides current information on marketing for different audience segments, including Latino audiences.

Lisa Sasaki shared tips from the JANM’s Boyle Heights project, and included information on museum attendance before, during and after the project.  Lisa also shared information about a white paper that JANM recently published called The Cultural Museum 2.0: Engaging Diverse Audiences in America.  It is available to download at http://www.janm.org/projects/innovation/.

The white paper is the result of a three year project, funded by The James Irvine Foundation, in which JANM was able to holistically reassess itself and its relationship with its audiences.  I read through it and found it articulate and very timely, focusing on the issues that culturally specific museums are grappling with right now.

The section on essential questions was particularly significant.  During the course of the project, the Museum began looking closely at the interests, wants and needs of its potential audiences.  According to the report (pages 12-13), the Museum addressed questions such as:

• To what extent is the visitor experience influenced by cultural or ethnic self-identification?
• What is the relevance of the Museum to younger, multi-ethnic audiences?
• How can the Museum develop programming to engage and sustain these audiences?
• How can the Museum engage new audiences while sustaining and satisfying its current constituency?
• What impact does engaging these audiences have on the ability for the Museum to sustain itself in the future?

These essential questions mirror concerns voiced by many museums, and the report goes on to include the results of the project’s research and recommendations to address these issues.  It is timely and relevant.  I teach the JFKU Museums and Communities course, and this will definitely be required reading for the spring M&C class!

Joining Forces for Sustainability: Balboa Park Cultural Partnership (#WMA09, Monday at 1:35 pm)

How do we make it through these challenging times with museums and historical societies closing their doors or implementing hiring freezes after a sustained period of expansion?  One approach is to join forces.

To quote from one of the underlying themes of the work occurring in the San Francisco Bay Area as part of the National Arts Marketing Program:

As more and more advertisements try to capture your prospective patron’s attention, it‘s becoming clear that it is no longer enough to just do more. We have to start marketing smarter because, honestly, there’s only so much that an arts organization can do by itself to gain a foothold. We have to collaborate.

On Monday, October 26, 2009 the afternoon session of the first full day on the Western Museums Association meeting in San Diego will include a session to discuss the formation and strategic planning of the Balboa Park Cultural Partnership (BPCP) and describe its activities including the Balboa Park Learning Institute, business services, advocacy, sustainability, marketing, public relations, governance, parking and on-line collaborative.

Gail Anderson

Presenters: David A. Lang, Executive Director, Balboa Park Cultural Partnership; Paige Simpson, Director, Balboa Park Learning Institute; and Rory Ruppert, Collective Business Operations Manager and Director of the Balboa Park Sustainability Program will be joined by Gail Anderson, President, Gail Anderson and Associates as moderator.

Foundational work in the creation of the Balboa Park Cultural Partnership has occurred with two studies:

• The Soul of San Diego (2006)
• Keeping Balboa Park Magnificent in its Second Century (2008)

David A. Lang, Executive Director, Balboa Park Cultural Partnership

As an overview Executive Director David A. Lang summarizes BPCP’s history:

Established as a nonprofit organization in 2003, the Balboa Park Cultural Partnership is the collaborative body and collective voice for 24 diverse arts, science and cultural institutions in Balboa Park whose 500 trustees, 7,000 volunteers, and 3,500 staff serve more than 6.5 million members and visitors annually. Our mission is to enrich the cultural life in and beyond San Diego by facilitating collaboration among Balboa Park’s cultural institutions and with the community; to enable the cultural institutions to achieve their full individual and collective potential; and, to preserve, enhance, and make accessible the arts, science, and cultural assets of Balboa Park for present and future generations. The Partnership facilitates collaboration in areas such as education, operations, governance and advocacy, marketing and PR, and sharing and communication.

While neither part of the session, nor really a part of the Western Museums Association, per se, another amazing aspect of the collaborative work at play in San Diego, Rich Cherry heads up the Balboa Park Online Collaborative (BPOC).

Cherry is more focused on the Museum Computer Network (MCN), amongst other professional organizations.  In fact the upcoming 37th Annnual MCN conference later this year has the working theme of “Museum Information, Museum Efficiency: Doing More with Less!”  And Rich Cherry and the Balboa Park Online Collaborative helped bring together the #sfmetrix session WMA co presented last August at the SFMOMA.

Legler Benbough, Philanthropist (1909-1998)

The Balboa Park Online Collaborative is made possible in large part by the The Legler Benbough Foundation.  For many decades, the Benbough family helped shape the City of San Diego. Legler Benbough’s father, Percy Benbough, founded the Benbough Mortuary and was mayor of San Diego from 1935 until his death in 1942.  Legler Benbough, as a businessman, civic leader, philanthropist and rancher was an important contributor to the civic and cultural life of the City throughout his lifetime. He expanded the mortuary business after his father’s death to become owner of the largest group of mortuaries in the United States.  With no direct heirs, Mr. Benbough made a decision in 1985 to establish a charitable Foundation that would promote his interest in helping improve the quality of life for San Diegans.

The Foundation was initially funded with proceeds of business operations. In 1987, the Benbough ranch in Rancho Santa Fe was transferred to the Foundation and sold. In 1999, the principal funding of the Foundation occurred on the settlement of Mr. Benbough’s estate.  As of December 31, 2008, the grants from the Foundation to date totalled Twenty Million Eight Hundred one Thousand three Hundred thirteen Dollars ($20,801,313) and the assets on hand net of liabilities were Twenty Nine Million Eight Hundred Fifty Four Thousand Three Hundred and Forty Eight Dollars ($29,854,348). (source: The Legler Benbough Foundation)

San Diego is lucky.  And as many of us know, the best way to cultivate, engage and encourage extraordinary support is to keep friends and donors informed.  But what do you do if there are limited resources?  An extremely important part of the ongoing collaborative experiment is underway in San Francisco — the Bay Area Big List.

According to those who are running the Big List:

In many cities across the country, arts groups have started new experiments in collaborative marketing designed to harness the collective energy of the community. These have helped increase both first-time and return attendance levels for the community at large — essentially raising the tide by working together instead of working against each other.

Later this week in the San Francisco Bay Area there will be free workshops that will focus on how 112 arts organizations of all types have collaborated to form one of the largest “Big List” list cooperatives in the country. The Bay Area Big List, which currently holds information for over 430,000 unique arts-going households, is fast becoming one of the largest list co-op programs in the country.

This collaborative model, in which companies gather their mailing lists together in a centralized pool to be cross-referenced, checked for accuracy and tagged with demographic information, allows arts organizations to market smarter, reach new arts-hungry patrons and get a higher return on investment.

Each convening will feature a panel of local arts organizations and Big List administrative staff discussing the impetus of the Big List, the other collaborative efforts that have emerged in conjunction with that program, and the future of collaborative marketing in the Bay Area.  Panelists will include representatives from SFMOMA, ACT, Berkeley Rep, San Jose Institute of Contemporary Art, Oakland East Bay Symphony, and more.  A full description and the RSVP form (required) can be found at www.theatrebayarea.org/tide.

The free sessions will be

• Thursday, October 22 (San Francisco), 10AM-12PM (SFMOMA, Wattis Theatre)
• Thursday, October 22 (South Bay), 3PM-5PM (San Jose Repertory Theatre)
• Friday, October 23 (East Bay), 10AM-12PM (Aurora Theatre, Berkeley)
• Friday, October 23 (North Bay), 2PM-4PM (Cinnabar Theatre, Petaluma)

It is programs such as these above that help the big arts organizatiosn equal as much as they do the small ones.  Everybody benefits.  And what’s this year’s theme for #WMA09?  “A Rising Tide,” right.  All boats, people.  All boats.

And these sessions in the San Francisco Bay Area about the Bay Area Big List?  Their theme/title?  Raising the Tide.  All boats, people.  All boats.

See you in San Diego!

(Raising the Tide is part of the NAMP/Wallace Marketing Workshops series. The National Arts Marketing Project (NAMP) is a program of Americans for the Arts and is sponsored nationally by American Express. In the Bay Area, these free workshops are further supported and developed with a grant from The Wallace Foundation in partnership with The San Francisco Foundation, Grants for the Arts/San Francisco Hotel Tax Fund and Theatre Bay Area.)

Trans-Civic Arts Marketing: 510Arts.com Launch

Four Cities One Web Site

Public/Private/Community Partnership Shines Spotlight on Diversity, Quality, Volume and Accessibility of Arts in the East Bay as one of America’s Highest Per Capita Arts Regions.

By James G. Leventhal

Today there was a press conference to launch the 510Arts.com portal website.  I live in Oakland.  I work in Berkeley and the Western Museums Association has its central office in Berkeley.  Around these parts, there’s the Oakland Museum, the Richmond Art Center and the Berkeley Art Center.  And Emeryville’s opening its annual  Celebration of the Arts tonight.  I’m all about the “510,” I guess.  It’s the local area code.  San Francisco’s is 415 and further east in the growing expanse that is the Bay Area it’s 925, and down on the peninsula, it’s…well, you get the picture.

Irvine and Hewlett Foundations and the EBCF

At the press conference, the cities of Berkeley, Emeryville, Oakland and Richmond announced an unprecedented four-city collaboration that promotes the arts as a “proven catalyst for economic revitalization and community sustainability.”

Each city — Berkeley, Emeryville, Oakland and Richmond — was represented at Oakland’s City Hall this morning, along with a small host of institutional funders.  It was a great kick-off event.  Today’s launch was the culmination of a two-year initiative, with early champions in John Killacky of The San Francisco Foundation, Mary Ann Merker of Berkeley and Steve Huss of Oakland.

It’s funny being a once New-York based transplant, because there are parallels here in what’s known as the San Francisco Bay area that are similar to the relationship between Manhattan and, say, Brooklyn, Queens etc.  And when I was leaving Manhattan some years ago, the Brooklyn and Queens art scenes were really taking off.

Artists and younger, new arrivals were settling in “the outer boroughs.”  Manhattan was too expensive and the art scene felt entrenched.  Arnold Lehman had overseen a significant expansion of the Brooklyn Museum, some years earlier the Sensation exhibition had drawn huge attention and then later the Brooklyn Museum’s social media presence and collections activation through those pipes expanded to be identified as maybe THE leader in the field.

Now the Oakland Museum is gaining in national attention with their successful expansion, thanks in large part to the leadership of Lori Forgarty.  Fogarty recently recruited René de Guzman from SF’s Yerba Buena Center for the Arts.  One of America’s most promising curators.  The East Bay, as this area is also known, waits with bated breath to see what he will unleash in the new Oakland Museum of California.

Oakland’s Art Murmur gives on the feeling the “scene” is gaining traction.  Berkeley’s theater scene, represented by the Berkeley Rep, Aurora Theater, Central Theater Works and others, is doing things like launching Green Day’s American Idiot.  Berkeley’s own Judah L. Magnes Museum has been curating traveling exhibitions getting national reviews.  The Berkeley Art Center has new leadership in Suzanne Tan.  And Richmond’s East Bay Center for the Performing Arts is developing a new space.  With Pixar Studios expanding in Emeryville, the city’s poised for big things, and it’s been a home for artists for decades.

510Arts.com designer Nicole Neditch

But really, all that’s “old news.”  Soon enough, and if the “portal” gains traction, if you want to know what’s going on right now in the four cities that make up a large portion of what’s known locally as the East Bay, you can now go to 510Arts.com.

The East Bay Culture Corridor is one of the highest per capita arts regions in the nation. This four-city collaboration is believed to be the first of its kind in the US and is designed to serve as a model of forward-thinking, economically and socially viable partnerships that put the arts forward as a proven catalyst for economic development, quality of life and community sustainability.

Wilchar and Sullivan of Emeryville

It’s hoped that with the increased focus on the East Bay Cultural Corridor and the development of this new web portal, it will foster relationships between the diverse arts communities of each city, leverage new audiences and resources for the arts, increase the visibility, accessibility and sustainability of arts communities, leverage new resources for each partner city and benefit local businesses through partnerships with the arts.

Together, the East Bay communities boast:

● One of the highest per capita artist populations in the country with more than 6,000 professional artists calling it home.

● More than 150 languages spoken and many times that number of culturally specific art forms practiced.

● One of the nation’s largest per capita collections of public art.

● For decades East Bay communities have consistently ranked at the top of national city diversity figures and their arts reflect this depth and variety.

● Hundreds of non-profit visual arts, music, dance, theater, culturally specific, multi-disciplinary and innovative organizations from the internationally known to neighborhood programs, education programs and offerings for youth, seniors and others.

● Alameda and Contra Costa Counties are home to 5,532 arts-related businesses that employ 21,477 people

Sanchez and Killacky

Hats off to the funders.  The developed understanding for an East Bay Cultural Corridor and the creation of 510Arts.org, through focus group work with artists, was supported by grants from the East Bay Community Foundation, The San Francisco Foundation, the William and Flora Hewlett Foundation, the James Irvine Foundation and Leveraging Investments in Creativity.

It’s this kind of forward thinking that helps to combat the often entrenched or unmovable ideas of locals.  The Oakland Tribune already ran a piece about the new portal this morning before the launch and wrote, “…wishful thinking that a regional cultural identity will become a lucrative reality.  Besides the 510Arts Web portal, there is no hint of a concrete project or money flowing to any arts organizations.”

Horton and Merker

It’s O.K.  For me, it is the very nature of the not-for-profit and arts professions that they remain eternally optimistic.  In fact, it is the very act of facing a blank canvas and seeing more that can define much of art making.  The same goes too often for keeping cultural organizations afloat today.  And a perfect example is the success of the Oakland Museum’s continued expansion despite the current economic downturn.

Sure, a web site is not going to address the deep-seated issues that consistently present comparative economic challenge to the  decentralized areas that surround and comprise a megalopolis like the San Francisco Bay Area.  It’s the tourism and high real estate value in the center that often keep capital near to the core.  But as Diane Sanchez, Director of Grantmaking and Donor Services for the East Bay Community Foundation is quoted as saying on the Oakland Tribune piece:

…the project was an extension of an ongoing program to help artists become more successful. “This is just one piece,” she said.

That Night's Opening in Emeryville

Really, it is both the effective integration of the use of the 510Arts.com portal, along with an understanding that the portal itself is emblematic of a desire to work effectively across boundaries of commerce and art, and a heartfelt desire for recognition balanced with an understanding for integrity and the need for informed philanthropy.

There have to be other geographic areas that can learn from this kind of collaboration, transcending city lines and arts organization limits.  While these other regions in America may not be able to claim the kind of per-capita artistic concentration cited above, it is still an important collaborative, civic model to explore.

And not just for larger, richer areas like the Twin Cities or Tampa and “St. Pete,” where there must be issues related to limited resources and need for increased exposure for distributed arts offerings.

It is also important for other regions around the nation to consider, like those known to themselves as “Tri-cities” like northeast Tennessee and Southwest Virginia to “Quad-cities,” like around Davenport, IA.

The Statement of Operating Principals listed on the site makes for a substantial case study and starting point for most any exploration into the arts, civic engagement and economic stimulus.

Are there other places served by the Western Museums Association where you think this kind of approach can help?  I am looking forward to watching this new portal gain traction and, more, watching how this trans-civic collaborative arts and cultural marketing impacts on the individual artists and cultural organizations its been built to serve.

Oregon Heritage Commission: Facing Adversity

By David Porter

To follow up on my earlier post, I wanted to note that the Oregon Heritage Commission,  a state chartered entity which oversees grant programs and other similar activities, heard testimony about the challenging state of affairs among heritage groups across the state at a meeting early this summer.

Under the leadership of Chairman George Kramer,  the Commission pledged to charter an investigation of the situation and to use its standing to make recommendations to the Legislature early in 2010.

The starvation budget which Oregon’s government is operating under, combined with the continuing economic gloom, will make their work more challenging.  Importantly,  the idea of engaging in global scrutiny of the situation and looking for broad solutions is a first.

It may well set the stage for a stronger fabric to support heritage museums and related institutions in the future.

Morning Coffee and On-Line Metrics

By Susan Spero

Susan Spero

As I sit with my cup of coffee this morning and think through yesterday’s tour de force by Seb Chan,  I too realize that like a tweet on #sfmetrix stating that a tornado of ideas was spinning through the tweeter’s mind, mine too feels like it has been hit by a storm.

Tremendous kudos are in order for the organizers for sponsoring a great day:  the National Arts Marketing Project, Theatre Bay Area, American Express, The San Francisco Foundation, the Wallace Foundation,  SFMOMA, AAM Museum and Technology, Museum Computer Network, WMA, along with other organizations and certain individuals.

The star of the day was Seb Chan who literally held the podium for the entire day showing how the team at Powerhouse Museum (http://www.powerhousemuseum.com/) have, through time, built a smart online system.

Their considered online philosophy and care has given them results:  the Powerhouse collection has been pushed to the forefront of their visitor’s online experience. A larger percentage of visitors spend time on pages that have to do with the collection more than with any other offerings.  Their visitors engage and use the collections information available: from the fabric swatches for creating a new issue of the designs or even as insights into objects for an ebay transaction (buying or selling, who knows).  The Powerhouses’s willingness to share incomplete material from their collections data base has even triggered new knowledge about the collection based on interested visitors sharing what they know.

Seb walked us through the choices their producers and in-house developers make as they consider open options for looking at the collection. Simple things like visitor language tags, and statements of significance as to why and object is important help make the objects relevant for an online visitor (scroll down on the link and browse through these amazing book dresses).

Over and over Seb implied that the Powerhouse philosophy is to listen, learn and seek ways to understand how their audience uses and/or wants to use their collection.  The team constantly wonders: What is the relevance of the collection and how can digital tools let us serve that need?

Go to where the audience is already living, is a key phrase for those who promote social software, and the Powerhouse museum understood this idea from the get-go.  They were the first museum on the Flickr Commons, and by putting their Tyrell Collection of  historic photographs of Sydney on board early, they increased awareness of the Powerhouse museum with the community that cares about photography.  What intrigued me is that this intense audience-interest in photography online has had an impact on the curatorial choices the Powerhouse Museum is making; they are going to (or have) hired a curator that can support the photographic collection.

Additionally, Seb noted that, at least in his mind, curators now and in the future need the skill sets to be able to work in the digital realm. In fact as part of their official curatorial responsibilities all  Powerhouse curators blog.  The web is a communication platform and everyone on staff needs to know how to use it to help audiences connect with museum resources.

The afternoon session was a geek’s dream in that it focused on the many metric systems that can be used to analyze just who uses your website and how they use it.  What was most telling though was how Seb admitted up front that many of the numbers tell you nothing when thrown out as just numbers.

Seb Chan, Head of Digital, Social & Emerging Technologies, Powerhouse Museum at the podium at SFMOMA

The key, as with all statistics, is that you know how to read them so they can influence future actions.  Find patterns over time.    So, for example, is there an upward trend when you open an exhibition or open up registrations for summer camps?  Is there a downward trend on holidays (usually, weekends are evidently down for all internet users: guess what we read while we are at work).  And look at how others in your area are doing:  if a competing institution has a sudden spike in their numbers and yours are flat, can you figure out why and how that happens.

You want to know how many people touched your content.  Let the analytics help you understand this.   If not already known, concepts like dwell time, bounce rate, and ISP logs are now a part of the mindset of every listener in the Friday’s room .  Dwell time measures how long visitors stay at your site, but even then those numbers have issues since you can only measure how long someone was at the second to last page they were on while visiting your site as there is no way  (yet?) to account for how long a person is on the last landed page of a session.  So you could discover that the average time spent on your site is four minutes, but who knows what amount of time passed when visitors finally found that great educational video you produced. Bounce rate is how quickly someone is in or out of your site; you want bounce rate to be low on education pages, but high if you are buying tickets for an event (get in and get the sale done quickly).

And ISP logs help you gain a finer grain view of your visitors, although the privacy invasion is real and alive on the web;  you can be tracked for where you’ve been browsing, and while I have always understood this, Seb’s reminder made me pause.

One of the most solid pieces of advice Seb offered is for institutions to use freeware for online analytics, but PAY someone to help you customize your specific number crunching.  You need to understand what the numbers mean, and HOW they will impact your future behavior   The twitter #sfmetrix site notes that there were tons of free “Kewl Tools” out there for the using (search twitter for #sfmetrix and you can read through the tweets of the day).

There were many big take-away thoughts:

1. Beta Test:  Don’t hesitate to beta test your site putting it online sooner than later: it doesn’t have to be finished before you go live.  In fact some of the things you learn that are most valuable are when you go live and real visitors are using it. Seb thinks we should also try to work the same beta testing for some exhibition efforts.

2. Be Adept Enough to be Relevant:  Web thinking, with its open, speed driven approach needs to work backwards into how our institutions function. Remember the photography curator story developing from increased interest built in Flickr commons.

3. And finally: Note to self.  Scour the Powerhouse’s web site.  I mean really look at it very carefully.  There is much to learn about collections access and smart web design.

Lastly, Seb has a blog that presents many of the ideas and projects seen yesterday: it is a great resource.

Others of you were there. What are some of your biggest take-aways? And those of you who were not, any thoughts on collections access or museum metrics? Great examples or challenges in practice?

WMA Gets the First Glance: Yerba Buena Center for the Arts New Campaign

[Editors' note: Special to members of WMA and westmuse blog readers, thanks to Bonnie Powers and Volume Inc., here's a preview of the look and feel of the new summer campaign for the Yerba Buena Center for the Arts in San Francisco.]

By Bonnie Powers

Enticing audiences: Volume Inc hijacks generic images in campaign for YBCA. Highlights contemporary art’s equally subversive and approachable character with surreal illustrations and humorous dialogue

Looking to escape the mundane? Try art, suggests Volume Inc.’s new campaign for the Yerba Buena Center for the Arts (YBCA), invading San Francisco streets in July.

More of today’s contemporary art is inclusive, meant to be embraced by everyone, and Volume Inc. is helping YBCA bring this new message to the people. The energetic and edgy guerrilla campaign–spread across city streets, transportation hubs, and even the sides of buses –operates like street art, where surreal illustrations hijack stock advertising images to deliver the message. The prank sends a clear message: Art is subversive, approachable, even fun. Visit the YBCA and get in on the action.

“I am very excited about this new campaign and the way it communicates the essence of YBCA to the general public,” said Ken Foster, YBCA Executive Director. “We strive to be both provocative and fun, and through that approach we hope to encourage people to see how contemporary art can also relate to their own lives.”

The campaign comes alive with vibrant color and an infestation of cheeky character illustrations against the flatness of various black-and-white scenes. Humorous dialogue disrupts the dull routines of daily life: a guy vacuuming, suburbanites barbecuing, kids running through a field.

One scenario shows a black-and-white photo of a businessman talking on his cell phone, but don’t expect the ad’s message to sell a new wireless plan. This generic image has been reappropriated and reengineered. A bright blue cartoon bubble above his head playfully shows his inner thoughts: “I worry that my cell phone is more interesting than I am.” Whimsical creatures tell the man to “Set Your Life to Vibrate” and get to YBCA. The promise is the Everyman will escape banality, and get a (artful) life. YBCA to the rescue.

[YBCA is a great, multi-media, contemporary art space with exhibitoins, film, performance, etc., right in the middle of a downtown museum center in San Francisco with SFMoMA, the Contemporary Jewish Museum and Zeum, all in very close proximity.  And, in not too long, The New Mint as the home of the San Francisco Museum and Historical Society.  Check out these westmuse links on: YBCA and The New Mint.]