Blog Posts for Leadership

Five Tips For Marketing Your Art to Groups

Posted by Adam Thurman, Oct 02, 2009 1 comment

As an arts marketing blogger I have covered a lot of stuff. But one thing I haven't covered enough is how to bring in groups to see your work.

Having a group sales strategy is key for arts organizations, particularly ones that perform in smaller venues. Not only do groups feel up those seats, they also bring in a very nice energy to the event. So let's talk about how to get them in:

1. Start early. Most organizations that bring groups to events starting planning those group outings months in advance. For example, the show my day job is running now starting contacting groups in late May.So if you want to start bringing in groups for your late winter, early spring events, the time to get moving on that is now.

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How I Threw My First Contribution Away...Almost (from Effective Leadership of a Cause on Facebook blog series)

Posted by MacEwen Patterson, Oct 01, 2009 0 comments

Just like I set a ridiculous goal for myself, it is possible to set individual goals inside a Cause on Facebook.

So, my initial gift of $500 to the Cause I joined - Keep the Arts In Public Schools - did not achieve nearly as much as it could. Had I looked closely at the structure of giving in Causes I would have created far more impact.

In Causes you can set up a Personal Pledge, a Fundraising Goal, and a Donor Match.

The first, a Personal Pledge is a declaration to the community that by a certain date you'll achieve a level of contribution. It opens a space for people to encourage you, and it creates an aim for you to shoot for. I've found that by pledging a certain amount by a certain time, the circumstances of life organize themselves in surprising ways to support the word we give.

Somehow, the circumstances in our life respond to what is important to us. And Pledging is important on many levels.

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How ROI Strategies Can Work for Arts Organizations

Posted by Lara Goetsch, Oct 01, 2009 0 comments

Does any of the stuff we do all day actually work? Surely much of it does. And some of it surely doesn’t. So, how do we figure out which is which, and do more of what works?

As Director of Marketing and Communications for a small-but-growing Chicago theater company, these were the questions at the top of my mind nearly two years ago when an opportunity arose to attend an education series on the subject of return-on-investment, co-sponsored by Chicago’s Department of Cultural Affairs and the Wallace Foundation. What I learned in that workshop put me on a path to revolutionize several aspects of TimeLine Theatre’s marketing with the goal of measurement. Now I understand in much greater detail what works (and what doesn’t so much). And I am thrilled that I’ll get the chance to share some results and tools as a first-time presenter at this year’s National Arts Marketing Project Conference.

TimeLine Theatre is an Equity theater located on the north side of Chicago (just a few blocks from Wrigley Field, home of the Cubs), dedicated to presenting stories inspired by history that connect with today’s social and political issues. With a budget of about $750,000 and just four full-time staff members, we are — like I’m sure all of you — required to make the most of limited resources. The more I learn about ROI, the more I understand that implementing techniques to measure the actual results of marketing tactics is not a “should do” toward this goal. It is a “must do.”

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The Only Thing to Fear...

Posted by Jenna Lee, Sep 23, 2009 4 comments

What is art? Why is art important? In a city of countless museums and arts institutions, you would think Washingtonians especially would have these questions answered.  But with access to so much information, examples and exceptions to the rules, the access to information makes these big questions even harder to answer.  And because art is so variable and different people have access to different kinds of art, it is hard for anyone to truly be an expert.

When exposed to art, whether through a gallery or theater or concert hall, most people are under the impression that somebody else in the room "gets it" better than they do: that somebody else, or perhaps everyone else, experiences the painting or play or song with a higher level of understanding.  Without concrete answers and with the potential opportunity embarrass him/herself, many people begin to show signs of fear.

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