The slides from this session are available:
June 28, 2021 - With broad-scale reopening on the horizon, the question of post-pandemic digital strategies looms large. Most organizations see value in maintaining some level of digital programming, but the range of underlying strategies, and their financiaal viability and mission impact, are unclear. Much thinking, and much research, remains to be done. This session will take stock of the cumulative findings from the Audience Outlook Monitor study as regards demand for digital programming, including recent qualitative research investigating how arts patrons have navigated the landscape of digital programming over the past year. Our goal is to frame up the issues and opportunities surrounding digital strategies moving forward and recognize some of the key differences and issues faced by organizations working in different artistic disciplines. Guests: Alan Brown, Principal, WolfBrown, Surale Phillips, Independent Researcher and Consultant
Mandy Nace, Director of Digital Marketing, Philadelphia Orchestra
**** Chat Log *********************
Ron Evans: Welcome, everyone. We look forward to having you in the session.
Surale Phillips: Super excited about this session!
Ron Evans: Welcome, everyone. Please let us know your name and what organization you're with.
Ilana Barker: Ilana Barker, Flint Institute of Music
Nancy Helmers: Hello, Nancy from the Art Gallery of Burlington
Chris Kam: Chris Kam, The New Group, NYC
Michael Frisco - Detroit SO: Michael Frisco, Detroit Symphony Orchestra
Rachel Roccoberton: Rachel, The Dance Complex in Cambridge MA
Alan Brown: Great to see you all!
Charlie Wade: Charlie Wade - Philadelphia Orchestra
Chris Cox: Greetings from Pittsburgh!
Mark Marston: Hello from Pittsburgh Opera
Derek January: Hello from the Mattress Factory!
Ron Evans: If the small video streams are overlapping the presentation, try maximizing your screen or dragging it larger, and it should fix it.
Jo Manley: Were the focus groups only on orchestra patrons?
Alan Brown: Yes, Jo. We needed to focus on one discipline, so we chose orchestra patrons
Alan Brown: The landscape will be different for different disciplines, for sure
Ayne Terceira: Any data on platforms/programs that hosted live chats during a performance versus view-only experiences?
Surale Phillips: Ayne,
Surale Phillips: Ayne, not specifically but commented about loving the ability to chat during interactive programs.
Jo Manley: In theatre, it seems to be the opposite: patrons prefer pre-recorded content that they can choose to watch at any time as opposed to "appointment" viewing.
Michael Frisco - Detroit SO: Topical content, less performances and more reflection, interviews, etc.
Jo Manley: I work with a theatre that has screened its pre-recorded performances in art-house cinemas, and on drive-in big screens. Interesting audience building opportunities with other locations.
Surale Phillips: Yes, Jo!
Chad Peterson: Were there any questions asked about the development of new work for a digital platform, and what impact that might have on participation (new work vs known title.)
Nancy Helmers: Events, fundraisers
Rachel Roccoberton: Using digital programming for people who cannot access facilities or need additional assistance (CC, etc) or using it to expand potential audiences
Surale Phillips: Yes, Nancy! Thanks we need to add that
Jo Manley: Digital/virtual experiences can be high-end engagement technique as well: inviting major donors to a table read (for theatre) or an education/outreach event. Even post-pandemic this proves to be a useful tool, better in some cases than live.
Michael Frisco - Detroit SO: We launched "Between 2 Stands" in Spring 2020, which is essentially a talk show. It has become a great place for us to process topics relevant to the arts, including diversity, programming approaches, current events, etc.
Nancy Helmers: We fufilled a need from our school board fro digitla art classes
Mandy Nace: Michael that's such a great concept. Does Detroit have it's own Zach Galifianakis?
Jo Manley: Union regs make archiving less useful, as they limit public use beyond a certain contractual date.
Derek January: We launched digital tours at MF recently and our ed