Arts Marketing Association Tailor Made: AMA Conference 2007

Seminars: Management Discussion

Nadine Andrews

Managing to collaborate

As well as working with organisations like Arts About Manchester, the 2002 Commonwealth Games cultural programme and Mission, Models, Money, Nadine has spent two years as a fellow on the Clore Leadership programme. She is a trustee of Quarantine, a board member of Culture Northwest and in the past has been a Pirate Radio DJ, worked at the Hacienda and produced the black music culture tv show The Next Level. She is also working towards a qualification as a mountain-walking leader.

In this session delegates were provided with a range of techniques and principles to enable them to collaborate well.

Managing to collaborate

Nadine began the session by recommending the following publications: • ‘Greater than the sum of its parts - a joined up guide to working in groups’, written by Heather Maitland and Anne Roberts and available at http://www.artscouncil.org.uk/publications/publication_detail.php?browse=title&id=565 &page=9 • ‘Managing to collaborate: The theory and practice of collaborative advantage’, written by Chris Huxham (available from www.amazon.co.uk) The aim of this seminar was to help people work in partnership more successfully including:

• The key themes in partnership working

• Factors influencing success

• Group work around collaboration – so that knowledge and experience within the group can be shared

The key themes

• The case for collaboration – why are you collaborating?

• Agreeing aims and roles – what are you aiming to achieve, who is responsible for what?

• Membership structure and dynamics – who is representing the different organisations in the partnership, does the representative change at each meeting? Is the representative bringing the organisation’s perspective or their own views?

• Management - funding and financial management, decision-making, admin, group discipline, meetings, communication, leadership, membership, speed and action

• Relationships - building trust, power balance, conflict resolution

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Nadine asked for some delegates to introduce themselves to the group and outline one thing that has made a difference for them in partnership working. Feedback from the group included:

• Being given the authority to make decisions

• Everyone in the partnership having a clear role to fulfil

Delegates were then asked to get into small groups and list three things that have helped partnership working and three things that have hindered it. Feedback from groups included:

Things that have helped partnerships:

• Clear leadership

• Putting agreements in writing

• Agreeing clear actions

Things that have hindered partnerships:

• Hidden agendas

• Dysfunctional relationships

• Individual egos

• Selective engagement of partners

Factors influencing success

These are the elements that have come out clearly through Nadine’s research into partnership working

• Shared/agreed goals, clarity of purpose

ƒ This can be really difficult to achieve and takes a huge amount of time. Often it is the very difference between partners that brings them together but can also make partnerships very challenging. The key is to keep breaking down each partner’s aims to reach a shared, but perhaps quite abstract goal, for example ‘to engage new audiences’

• Shared / known values - Individual/organisational/partnership; espoused/operational

ƒ There are differences of opinion about whether it is important to have shared values. Often there is confusion about what it actually means and there is a lack of common language about values. Many partners don’t discuss this explicitly at the outset. Nadine recommended ‘The Leader’s Guide to Storytelling’, written by Stephen Denning (http://www.stevedenning.com/LeadersGuide.html) which has a section on values. Espoused values are the values that organisations say they have and operational values are the ones that are put into practice and there is very often a dissonance between the two. This dissonance can lead to a

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breakdown in trust between partners if the actions differ from the words. It is possible to work with partners who hold different values, but you need to know what those values are. If you want to work on a deeper level with each other though and enjoy working together, than shared values are essential.

• Self-regulation and ‘tit for tat’ reciprocity

ƒ Nadine referred to ‘The Prisoner’s dilemma’ – a win-lose game. Two ‘prisoners’ are given the choice of cooperating with each other or defecting. The decision is made by each player with no knowledge of the other player’s choice. If they both cooperate, they receive a specific punishment or reward; if both defect they receive a larger punishment. However, if one defects, and one cooperates, the defector receives a large reward and the co-operator a punishment (the sucker's payoff). In most cases, players don’t collaborate and so both lose. Tit-for-tat works in a similar but positive way, each partner reciprocating according to the way that the other partner behaves. The idea is that both partners realise it is for their benefit to work supportively with each other and this self- regulation leads to positive outcomes – that is, unless someone doesn’t play the game. Nadine recommended Robert Axel-Rod’s book, ‘The Evolution of Cooperation’.

ƒ Quality of relationships - same individuals, ‘shadow of the future’ reputation, power, leadership, equality, commitment, trust, respect, personal connection

ƒ The qualities of relationships are usually better when they exist over a long-term and if people know that they will work together again in the future. It is then in everyone’s interests to make the partnership positive. Often partnerships come down to how well the individuals get on with each other and trust often stems from this. Additionally, people’s concern for their reputation affects how they work with each other but this is often more important for smaller organisations than larger, more established organisations. Big, building-based organisations are often less concerned with partnerships and the impact of the way that they work with others. This comes down to organisational culture and the decision-making responsibilities that individuals hold within those organisations. The more responsibility an individual has, the more investment they will put into partnerships. If a staff member has been told to work in partnership but doesn’t know why, the partnership is likely to be difficult.

• Collaborative energy

ƒ A person who initiates a partnership often brings lots of energy in order to make the partnership work. People who have a partnership imposed on them bring a lack of energy.

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Q: Do you have a view on whether organisations should collaborate? Is it OK not to work in partnership?

This comes down to organisational culture, values and the purpose for working in partnership. It doesn’t work if people are forced into partnership with each other, but if both partners can see how they can achieve something together then it is worth it. There have to be good reasons for working together and keeping the partnership going. If you can achieve what you want on your own without partnerships, then why waste time and energy developing them for the sake of it?

A reason for a lot of organisations to work together is to get money for projects, but when things go wrong, money isn’t a sufficient motivator to make things right again.

Q: If research has shown this, then why are pots of money made available specifically for collaboration?

Because it can work, bring added value and extra possibilities, as long as everything else is working. You may, by chance, develop fantastic working relationships with people you have to work with.

One of the big clashes in partnerships is between short-term versus long-term working. The other is to do with consistency versus flexibility. Consistency is great because it means you can trust the other partner and you know what they’re aiming for, but it can also be a nightmare when things need to change.

In the morning session, people worked in groups and were asked to reach agreement through one of the following methods:

• Voting

• Reaching consensus

• Participatory appraisal

• Someone to self-select themselves as the decision-maker for the group

• Tossing a coin

The groups were only given a few minutes to make their decision and unsurprisingly the group needing to reach consensus didn’t make a decision as they hadn’t got around to deciding their process for decision-making. But they did enjoy the process. The self-selected group reached their decision fastest and the group that tossed a coin misunderstood the task, and tossed a coin to decide whether to go to lunch or not, the decision came up as no and people weren’t happy about that.

Although this exercise was an extreme example, it highlights the ways that decisions get made in partnership working and the emotions that people have around that process. It’s useful to be aware of how you feel about decision-making. Many decisions come down to feelings and then the justifications come afterwards.

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Q: How do you deal with people who have no self-awareness and you know that their perspective isn’t the right one?

There’s a school of thought that you should think not how that person can change but what you can do to change the situation.

Q: One thing I’ve tried before is giving everyone assigned tasks and giving that person a role. In our case, the person rose to the challenge and it changed the partnership for the better.

There’s some underlying need in that person that needs to be met and which isn’t currently being met. So in your example by giving that person a purpose, you then met that need.

Q: How do you best develop trust in a partnership?

The best way is to take time to get to know the other person and set long-term goals that you can agree on. Likewise, sharing information that is seen to be of value is a way of gaining trust. The other thing that’s interesting about trust is that by investing trust in someone else, you can hand control over to them. On the other hand, if you want to verify that they mean what they’re saying, to ensure that they are trustworthy, then you can undermine any trust by the fact that you’re questioning them. So it’s a very complex area. You can’t underestimate the value of intrapersonal relations within partnerships and ultimately, the best way is to be honest and straight-forward with people.

Q: If you work for a big organisation and other, smaller organisations think that you are going to make all the decisions, how can you change it so that that the partnership becomes more equitable?

One idea is to look at who chairs meetings and to rotate that, because that role can hold a great deal of power, so sharing it shows you want to share responsibility.

To conclude…

Problems with partnerships are common. In the end, it comes down to how you deal with those problems as a person. Looking at your intrapersonal skills and working on these can make a big difference, and these include:

• Perception is projection (look at the problem from different angles and check you’re not projecting onto the other person)

• Be at the cause not the effect

• Behaviour as manifestation of positive intention - ‘He who does not trust enough will not be trusted’

• Resourceful states/emotions

• Use of breath, body, visualisation to change state

• Be the change you want to see in the world

• All resources you need are within you, its just a question of accessing it 69 Arts Marketing Association Tailor Made: AMA Conference 2007

• Reframing

• Energy

• Congruence of attention and intention

• Intention and outcome

Don’t work in partnership unless you have to and lastly, release potential in others by giving people permission to be leaders.

‘In a non-zero sum world you do not have to do better than the other person to do well yourself’

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Howard Raynor, World Class Service Ltd Brands don’t work anymore

Howard Raynor formed his own company, World Class Service Ltd, a company dedicated to improving customer service, in January 2006 after seven years as Chief Executive of the Bridgewater Hall, Manchester. He has also worked at The Barbican Centre and at Derngate Northampton where he was General Manager. He is a director of the Manchester International Festival, a director of Futuresonic and recently presented the BBC’s Blue Planet Live! Show in UK arenas to 14,000 people.

This seminar looked at what the future might hold for branding, exploring how it is possible to deliver a customer experience that reflects your organisation’s brand needs and meets or exceeds personal expectations.

The Brands Don’t Work Anymore!

Howard promised to blow a few myths out of the water and to persuade people that brands are not such a great thing!

We are confronted with an amazing amount of choice.

• Only 4% of US Consumers stay “loyal” if competitors offer better value at the same prices (BrandChannel.com 2005) • 70% of customers perceive brands to be alike • 100 Sky Channels • 200 ‘free to air’ channels • 6,500 songs on the average i-pod • 50,000 Items in an average supermarket • There are 83 different shampoos, 68 shower gels, 77 washing powders on sale in the UK • 100,000 albums in a city centre HMV • 9 million titles at Amazon UK • 50 million users of mobile tv by 2009 • 20 million Marriott loyalty cards worldwide • 1 billionth download from iTunes took place in Nov 2006

Is our brand going to compete in this environment?

This is the generation of consumer control. If the adverts don’t suit us we turn off.

We need to understand the world we are in. Advertising online was worth £1.4bn in 2005, in 2011 it is expected to be at £4.5bn. To cut through the clutter, an enormous amount of advertising is required. Can we do this in the arts?

Meanwhile, as we plough into this marketplace we should remember

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• Customers buy experiences The flowers in the hotel lobby of the boutique hotel could be the memorable thing • Customers define who we are • Their perceptions are us We are not entirely in control of our message. What we put out is not what is received. We may believe that Nike stands for sporting excellence, but some consumers think it means exploitation of cheap labour. • Customers are now creating the media Though it’s important to remember that sometimes people want to contribute and sometimes to sit back and enjoy.

Our experiences

• We are bombarded with information clutter

• We are bombarded with meaningless symbols The logo soup of our sponsors and funders on our websites and print is a good example. • Disintegrated experiences Some companies present themselves as one thing but do another • Temporary Brands come and go at an astonishing rate • Brands don’t make the world a better place Millions of non bio-degradable branded coffee cups are sitting in landfill sites.

The discussion was thrown open to the group:

• Brand is often used just as a word rather than in its proper meaning

• It could be about consistency – it’s good up until you have a bad experience and then you feel that the brand has been dishonest in some way

• There are some contradictions; like the way in which people hate the experience of low-budget airlines but still go on them

• The problem comes when the service doesn’t live up to the brand

• It’s useful to have an identity but is this the same thing as a brand?

• It’s about relying on behaviour – you should rely more on what you do

• You need to take a multi-dimensional view of branding – it’s more than just the symbol. Where it can go wrong is when delivery doesn’t match the promise.

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What is wrong with brands?

• Worn out from over use • Treadmill of novelty, add more value, churn, tactical promotions, events. • Price differences and price twiddling that only the brand owners notice • No longer mysterious… • Levels of consistency and predictability transcend brands in the West – they all do the job. • Increasing pressure on brands to keep themselves real by becoming more transparent and accountable for their actions and operations. The customer is projecting the inside of the brand back out again. The role of transparency websites will increase in importance.

So, what do we do about this?

We can’t bluff our way in branding anymore. In the arts we need to:

• Rethink the problem • Rethink the resources • Rethink the assets • Rethink the solution

What might some of these things be?

‘Most of the time, before seeing something in detail we have a sense of what it is … before understanding you feel.’ (Maurice Levy, CEO, Publicis Groupe)

When there is so much choice we need to work out how to make an effective intervention.

We buy experiences

In a mature Western economy we are ‘through buying stuff’, we are purchasing experiences.

• Explicit services – the things we ask for. • Implied services – what we thought it would be like from what they said about it. There’s no point telling people things which are not true. • Service environment – the context in which all this takes place. • Does it do the things I thought it would? Did it live up to my expectations? • Is it a delight to go/be there? What are we doing to build on this delight? The customers having a good experience and telling other people about it is far more powerful than putting up a website.

‘THE FUTURE OF BRANDS - EXPERIENCE OVER FUNCTION IS THE KEY TO LONG- TERM SUCCESS OF FUTURE RETAIL DESTINATIONS.’ (Ralph Ardill, Chief Executive, Brand Experience Consultancy for British Council for Shopping Centres)

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We have the most beautiful spaces, the most fantastic talent and we deal with real choices in life. We are dealing with dreams, stories, rituals, power, big ideas. These are real emotional experiences.

We surprise and delight people – often unexpectedly.

Procter and Gamble spend all their time trying to animate a lifeless product whilst we have a product full of life which we are trying to make lifeless.

What makes success in the experience economy?

• Solid foundation of great performance, innovation, reputation and honesty. • Show a different mind set – the way in which the audience participates for example • Do it, don’t say it. • Unity, coherent image, identity and culture aligned around principles.

Q. Isn’t that what a brand is? HR. Yes, but the problem is that people say one thing and do another. There is also a great deal of meaningless branding. Q. But we are aspirational and sometimes we fail. HR. Your behaviour and what you say should be aligned and we need to think more deeply about improving our behaviour. Q. Are you saying that we should concentrate on what we are doing and the brand will look after itself? HR. Yes, there is too much fascination with selling it rather than doing it well. I don’t look forward to being targeted and segmented and made more loyal. That is not the relationship I am looking for as an audience member.

What would be better in our sector than allowing Procter and Gamble to tell us what to do? We’re in a different world of engagement with our customers.

Kevin Roberts, CEO Saatchi and Saatchi, refers to our unique selling proposition vs the dead hand of statistics. This is relevant for the arts. What are our real unique selling propositions? We have a level of depth, pasts, futures, mystery – the thrill of the unknown, empathy, senses, story, delight, commitment and passion. Why are we turning this into tins of beans?

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Are we committed to our customers? Can we exceed the expectations on a regular basis? It’s not about wafer thin engagement but human endeavour and it’s much more exciting.

How do we set expectations within our organisations? Muse of Fire or PSA targets? Henry V did not send people into battle on the strength of a spreadsheet.

What we need to do to create the service interface

• How we do business with our customers • Speed of our response • Reliability of the experience – consistently exceeding expectations? • How we recruit, induct and develop our people • Our standards • Do our teams know what we do and how? • Attention to detail • Attention you give to your customer. Use observation to see what they do. • Attention to the senses • Attention to design – copy, photography, layout and materials. It’s amazing how much creative talent there is around and yet how dull our design is. If we are going to produce half a million leaflets lets at least make some effort in our design.

Questions to consider

1. Do you outperform the competition all of the time? 2. Do you do the right thing by your audience? 3. Do you have a heritage that your customers care about? 4. Are you offering the best possible value? 5. Do you listen to your audience and take them seriously? 6. Do you welcome challenges to the way things are done? 7. Do your marketing statements match the reality? 8. Would you recommend your activity to your best friend? 9. Do you ever deliver more than you promise? 10. Are you the leader in your field? 11. Do you keep your promises as a company?

Luxury Hotels • Propensity to repurchase 78% • Interview staff 4 or 5 times before they are trusted with the customer • Seven part training programme • Thorough standards and auditing of those standards • Focus on human dimensions of the business because key moments cannot be made routine • Eschew strict programmed behaviours – inhuman treatment of staff won’t create high quality service experiences • High end service interactions are social interactions

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• Adoption of COVIA and guest preference pads • Staff satisfaction ratings on the General Manager’s dashboard along with customer satisfaction ratings. 30 second guest surveys. • High level empowerment of staff with high value guests. Don’t worry about ‘over- satisfaction’! • Daily staff briefings

Hip Hotels • Tight focus on a small cadre of loyal and targeted patrons. • Simplicity. Trust vs Expertise • Physical, cognitive and emotional attributes • Observation based personalisation • Anticipation and intuition. Anticipating what people are going to ask for next is absolutely key for Hip Hotels • Outstanding service recovery. When something goes wrong how good are we at fixing it? • Recognition of returning guests • “Subtle but polished hospitality”

Operations as Marketing • Uncertainty is desirable and cannot be avoided. • Create real, rooted organisational meaning in a fast changing world. Your audience will love you. • Cut through the organisational myths; consumers want real, authentic engagement. • Build an audience engagement that makes sense from end to end. The experience of using your venue or company needs to feel consistent. Eg. at the Bridgewater Hall, the NCP car park was crucial – if you spend 40 minutes trying to get out of the car park after a concert this will be your lasting memory of the night • Use all the resources at your disposal • Improvisation of the same organising thought. • Let word of mouth carry your day.

“For us it’s a fine line between persistence and stubbornness, optimism and delusion. While we believe that our clients are loyal for good reasons, we go beyond reason to make it work.” (CEO Tablet Hotels) Summary • Brands are not the answer • Operations as marketing • Alignment of culture, image and identity • Sensory engagement of the audience • An organisation with a personality • An organisation that lives up to its hype • Keep it real

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Questions and Discussion

Q. As a Mancunian, what would your view of a great brand like Factory Records be? HR. In 1979 it was a revolution in the way in which the artist is put across. However, the world has changed. We are much savvier about marketing. Q. It’s interesting about the way that things are ‘read’. Dallas [tv show from 80s] was very popular in the Soviet Union but as a critique of American capitalism. Do you need to keep re- working your branding so that people are getting what we want them to get? Q. One of the things that I find frustrating is that marketing tends to be regarded as what delivers people to the door and then the foh experience can ruin it all by giving people a bad experience HR. Yes, we need to pay better regard to the whole experience and how it is integrated across the organisation. What bothers me is the organisation which spends £450,000 on a visual identity and then as soon as you experience the place for real it’s a disappointment. Brand is an integration issue. Q. Do you think the BBC is a brand? It’s organisations like the BBC which are actually very good at being a brand but you don’t notice it because they are good and maybe what you are talking about is bad branding. HR. Yes it is and they are good, though I think even they get too obsessed with their sub- brands which pass most viewers by. Q. What you seem to be saying to me, is that successful branding and identity building is about having a sense of identity which works right through the organisation. But to me that still says that branding is incredibly important. It’s just not about the print. HR. What I am talking about is the gap between what people promise and what is delivered Q. So, you are saying that organisations might think about spending some money on service delivery before they embark on expensive print identities HR. Yes and making it real Q. So brands don’t work because they no longer deliver HR. It’s more that they are meaningless. What we do in the arts is real and yet we have a temptation to go down a corporate route. Q. Discovery is important – finding something you didn’t expect when you get there.

[Questions and discussion were taken from the second session of the seminar on Thursday afternoon]

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Seminars: Industry Discussion

Martin Prendergast, Arts Manager Guardian News and Media and Hannah Rudman, Director, Rudman Consulting

DigiNation

Martin Prendergast is the arts manager in the commercial department at Guardian News and Media. Following a Theatre and English degree he worked at Times Newspapers and for four years at Dewynters. He is a committed amateur pianist and is the accompanist for the Guardian choir.

Hannah Rudman has a background in contemporary theatre and a fascination for exploring the links between the arts and emerging digital technologies. She is now an IT and digital content consultant for the cultural, charity and education sectors aiming to increase the sector’s capabilities in e-business.

In this seminar they examined how digital technologies are enabling us to offer customers more choice, personalisation and flexibility.

DigiNation: Martin Prendergast

The session began with a video based on the DigiNation research of The Guardian Unlimited with comments from respondents such as:

My mum’s just signed up to MySpace.

I think that’s unbelievable that not only can we create a world that people can exist in [Second Life], but then people can customise this world, live in this world and generate real life income in this world.

In terms of MySpace some of it seems a bit pointless from what I can figure out .. just people putting pictures up of themselves.

For new artists the only way to get them heard is to let people download it and let people listen to it.

Things like Last FM … it’s a great way of finding out if you like the music before having to buy it.

Got into Podcasts by downloading Ricky Gervais.

It’s going to get crazy … there’s no privacy

It’s what people want.

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Martin continued by taking an audience straw poll asking the audience whether they had iPods, blogs, MySpace and Facebook profiles, avatars on Second Life, computers at home etc. concluding that this audience was fairly ‘techno savvy’.

The pace and scale of change is unprecedented. In the last 12 months:

• YouTube grew by 478% • Flickr by 131% • MySpace by 98% • In the USA, more than than 50% of 12-17 year olds use networking sites. • MySpace (July 2007) has 114 million global users • YouTube sold last year, two years after forming, for $1.6bn • Facebook creator turning down offers (apparently) of $1.5bn (at the age of 23) • 75m blogs on the internet at the moment according to Technorati

There are people who make their sole living by trading on Second Life. The Pet Shop Boys played a concert there with an audience of 14,000. It’s a good example of how our thinking has to change. We need to tear up the plans and start again in terms of how we think about how people communicate with each other.

The Research

This research was undertaken in order to understand consumers better. It used mixed methodology with two samples:

• Harris Interactive Online Panel for nationally representative sample of 2,012 • Guardian Unlimited Users for own commercial knowledge of 1016

There was not enough time to talk in more detail about how the research was conducted but MP invited people to get in touch with him if they would like to know more.

New technology now part of everyday life: 2004 2006 Has Broadband 49% 84% Own an iPod or mp3 player 8% 25% Download Music 44% 54%

Are consumers the new broadcasters? What are people actually doing?

Download music 53.7% Download film 19.1% Download radio programmes 14.5% Upload music 10.2% Created a blog 9.2% Downloaded a podcast 8.1% Created a podcast 0.4%

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Interestingly, it shows that for the majority (65%) it is still about consuming rather than producing (27%) although this data is from 2006 so the ‘creating’ figures have probably increased.

MP provided the example of his own Facebook profile on which he has a video of himself playing the piano. This was his first foray into creation and demonstrates why the figure of 27% may be increasing.

Does user generated content herald a new world of democratised free expression or does it mean there is loads more rubbish about? Mostly, it is rubbish but there are gems. Whilst there may be more people producing film blogs for example, it doesn’t make them great writers. It reminds us that film critics aren’t recruited for their knowledge of film but because they can write well.

The research showed an age differential. Older people aren’t downloading music as much, but tv and radio downloads are more-or-less the same between age groups. As the younger and more ‘techno savvy’ generation grow older the lines [of the graph] will even out and converge.

Podcasts

Podcasts are a series of downloads which update automatically to your computer. It was a term invented by Ben Hamersley in the Guardian in February 2004. The Guardian also has the record for the biggest number of downloaded podcasts – for the Ricky Gervais podcast – of 4 million.

The research showed that in 2006, although there were only 3 million active podcast downloaders there was a large group of people willing to try them – showing a potential market of around 14 million in the UK.

Research showed that the main reason why people don’t download podcasts is due to a lack of understanding, confusion and sheer lack of interest, not because they don’t trust the content.

Who are the Digi-zens?

As a result of the analysis, it has been possible to create a model of the new digi-zens of our digi-nation.

Digi-scenti – the leaders in the field do more than inform the media they are the media. They re the top 4% - young and male, they use technology to create, write blogs, and probably earn their living through the internet.

Early digitisers (11%) – not quite as up to speed as the digi-scenti. Slight male skew.

Digi Joe-Public – very happy with the internet but use it quite functionally like the social networks Facebook and MySpace.

Digi-refuseniks – not interested – doesn’t fit in with their lifestyles.

Dig-phobes – frightened – will they be arrested for downloading music?

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This is all changing very quickly as people embrace technology.

More porosity, more participation - what does it mean in practice? Hannah Rudman

This research paints a really clear picture of the facts around what consumers are up to online and it also contextualises the keynotes of John Knell and John McGrath .. but what does it mean in practice; this idea of more porosity and participation in our organisations?

It means change.

The Guardian is a good example. It used to be just a newspaper - its business was to sell advertising to people and companies wanting to sell their stuff to readers and then sell papers filled with news, content and ads to the public. So we’ve gone from Guardian Newspapers to Guardian News and Media, a digital media company, with a massive website available on any digital device and that also produces a newspaper. It sells 360,000 papers each day but the website has 15m unique users worldwide in a year.

It’s done this by

• Change of mindset – from push, broadcasting, being the gatekeeper to pull… – changing its mission • Changing operationally – job roles • Changing its business model – Offering targetted ad services

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The arts sector

It’s more of a challenge to get porosity and participation working for the arts sector. Our business models are mainly patrician and closed. Our organisations are businesses set up to support one person’s artistic vision, with departments to help them make their vision, market it and help people understand it. We’re used to pushing out content to audiences – it’s not easy for us to be open.

How do we achieve this change to greater porosity?

- we could clone John McGrath [director of Contact Theatre, keynote speaker at conference] and replace all the CEOs with him but it might be a scary world and the breadth of the arts world wouldn’t be that great.

More realistically, we can make small changes, and get there gradually. If we look at how one arts organisation has become more porous and participative it might be illustrative.

Recently, the Tate has been developing Tate Tracks; musicians are invited to create music inspired by certain art works. For one month they are exclusively available next to the work in the gallery at Tate Modern, then after that are available for download via iTunes and the Tate’s MySpace page. Tate’s MySpace friends were involved in the setting up of the project by being asked to submit ideas for musicians and art works and vote.

MySpace has given the website a free homepage ad - about £150k’s worth of media space, because they think that the brand aligns with theirs and that it has interesting content that their users will be interested in.

Working with Flickr, the online photo sharing website, Tate has further developed its “How we are project”, adding a “How we are now” element to it, made up entirely of participants’ photography. Tate’s Flickr site has received photos from over 5000 photographers. 97 of these are holding discussions amongst themselves about photography and the HWA project. The Tate themselves think that they may have discovered two interesting new ‘talents’.

How successful is this strategy?

• 2005: 7 million visitors online • 2007: projecting 18m visitors online (180m page views) • Average time on site: 20 minutes • Additional cost: £0. • Marketing/promotion: None. • “We didn’t do anything clever!”

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Will Gompertz, Director of Tate Media is the most obvious evidence of change in mindset. His title used to be Head of Communications. Tate has changed its attitude about what is important and so has created a new department with new titles and job roles.

He recently said, to an audience of 250 international museums and galleries professionals, ‘We’ve lost control of our content’. This either means he’s started to do a terrible job and he’s a complete loose canon or that they’re purposely loosening that control to become more porous.

What has changed is the Tate’s attitude towards cultural provision. The Tate has recognised that cultural provision in the 21st Century has become a misnomer. Culture is not something that can be “provided” it is something that describes what we generate together. It is characterised by the many different interests and multiple backgrounds of the people in society.

The Tate is about to launch its own media channel so that it can have better control and (re)use its own content. For example, the BBC may make a programme on one of the Tate's current exhibitions. Once that exhibition has ended, the intellectual property rights walk out the door because in most cases the Corporation will not let its programme be shown on a non-BBC website.

There are other arts organisations changing their business models. The Royal Opera House has bought Opus Arte, a dvd and media distribution company.

In order to emphasise the point that it doesn’t have to be about large enterprises though Hannah conducted a straw poll amongst the audience which showed that most people sold advertising on their programmes but not on their websites.

Questions and discussion

Amanda Singleton, Guardian Media Group, joined the panel for the final section.

HR: Martin can you talk about the change in mindset at The Guardian.

MP: It’s a permanent state of change. It’s very competitive but we’re lucky to be led well by Alan Rusbridger [Guardian editor] who has made it fundamental to the business. Next year we are moving to new offices which will have a video studio. Journalists are often sent out with a video or audio recorder, so they come back with a film or audio report rather than just something written.

AS: What I’m finding is that people are still a little scared about using online solutions. The Guardian keeps us well updated about the market place though and we keep discovering new things that are important for our clients. I didn’t realise until yesterday’s presentation [from the Edinburgh International Festival] for example, that opera audiences were big consumers of media generally.

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MP: Arts consumers are high value generally so we might well be interested in talking to arts organisations about things of mutual benefit.

HR: Everyone knows that The Guardian made a big loss last year; how is this going to be turned around?

AS: It’s going to be about capitalising on the audience we have in our online communities. Our mission statement is now about being the ‘leading global liberal voice.’

MP: We don’t know yet and the industry is still trying to find a good business model.

Jo Cottrell, London Calling Arts: what advice do you have for those organisations which might have more of a struggle convincing the people at the top that this is the way forward?

MP: What you can do is provide examples of those organisations which have done it and been successful.

HR: The way that Will [Gompertz] did it at the Tate is to show them the market research. He kept selling the business case.

Adam Boss, Quad, Derby: From my experience as a marketer using different digital forms, it’s very time-consuming. Do you have any tips in terms of time and people management?

HR: Anytime you make digital content, do it just once. Plan it early. Also, one thing that can be considered is to get a keen audience member to manage your digital social network like MySpace for you. You need to remember though that you can’t force the development of online communities. Hoipolloi Theatre discovered that one of the characters from their productions, Hugh Hughes, had become the subject of an appreciation society on Facebook set up by an audience member without their knowledge. Since then the company has used it and maintained it with a light touch. It could also be about taking risk – perhaps taking a cut somewhere to support something in another area.

Caroline Griffin, Audiences Central (Chair for the session): How can organisations feel comfortable about letting go, especially ones which are smaller than the Tate because we are always hearing about them?

HR: Prior to the 20th Century everyone was happy with participating and now we are seeing a move back to this approach. Already there are 25% of the public creating (according to the DigiNation research) and we can’t ignore them.

MP: The internet is cheap and democratic. Using the Sony Bravia advert as an example, this was subverted by a YouTube user who recut the original footage and combined it with their own and put it out with a new dance track without Sony’s permission. However, Sony loved it and encouraged it with other initiatives.

Nicola Mullinger, LabforCulture: There’s an organisation in Amsterdam which is a bit like Watershed. They had a scheme and asked people to vote for themes and speakers and then

84 Arts Marketing Association Tailor Made: AMA Conference 2007 organised very successful workshops based around this. LabforCulture only deals with virtual products and we still see people in the arts throughout Europe being quite scared of online technology. My feeling is that what we need for the arts to do is not to think in terms of putting out and getting back but to have a continuous circular discussion.

Graham Watts, TCS Media: Where do you see the print medium going in the future? Will it go free? Will circulations decrease constantly or reach a point where it sticks?

MP: It’s a very interesting question and we don’t know the answer. The Guardian is still committed to the paper and keeping the circulation high. The paper has just spent a great deal of money on two big print production sites which would suggest a continuing commitment to newsprint. It’s also interesting that in London there have been successful launches of free papers which show there is still an appetite.

Andrew Clemens, TCS Media: How have clients found response levels to print compared to online media?

MP: One of the problems is that people don’t measure their response to print or outdoor advertising very well whereas the online medium can measure it extremely well.

AS: People need to think very hard about why people want to click on online ads, is the creative engaging, how many times have they seen it already? What seems to work well are basic things like competitions and offers.

CG: How do you measure how good is the quality of the digital experience?

HR: You can track peoples’ journeys online well, which pages they’ve lingered on and what they’ve downloaded which give clues. As a separate point, we need to challenge our funders about how they measure our engagement with audiences. This should include engagement online and downloading of content, not just ‘physical’ engagement.

MP: The Guardian built a mini ‘Colonel Gadafi The Opera’ site with ENO and Asian Dub Foundation provided a couple of tracks which could only be downloaded from the site. It was the most popular element of the site. The arts has loads of really interesting content but so much of it is hindered in reaching websites because of difficulties with rights.

HR: The Britten Sinfonia has a soloist called Nicholas Daniels who allows them to record and interview him because his name is plastered all over the site. It raises his profile and also drives people to his own site where people can buy his cds.

Kofi Debrah, Luton Carnival Arts Development Trust: When the telephone was invented, they didn’t realise what an influence it would have. They thought they might be able to broadcast things to people, not that anyone would want to talk one to one. All we can be is a portal for our community to communicate with each other.

MP: Alexander Graham Bell said, ‘I don’t think it’s going too far to say that soon every town in America will have a telephone.’

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Martyn Richards, Director, Martyn Richards Research Limited

Marketing is in a state of change

Martyn Richards has been a qualitative researcher since the late 1980s. Previously he was an actor in a range of notable productions such as Godspell, The Taming of the Shrew and Great Expectations. Having worked in agencies for several years he set up his own company in 2006 with clients such as Guinness World Records, the Sainsbury Centre for Visual Arts and the Roald Dahl Foundation. He recently made a return to theatre, directing John Godber’s Shakers at the Sewell Barn Theatre.

In this seminar, Martyn introduced concepts from the world of qualitative research which, by identifying key areas of consumer behaviour, present challenges to all marketers.

Marketing is in a state of change

Marketing is about understanding your audience – people – in order to be able to deliver to them, what they want. What is changing is twofold:

1. What we know about people

2. People themselves, in terms of how they see their lives and how they communicate with each other. Marketing is in a state of change because the world is going through massive change, culturally and socially, mainly because of something we now refer to as “Web 2.0”.

Qualitative researchers are interested in social change, because it affects the way people make decisions about the things they want to consume. As well as looking at change due to Web 2.0, this seminar looks at thinking from the world of qualitative research, which has led us to modify the way we conduct research and how we report to our clients: the marketers.

1. What we know about people

This is divided into four:

• Need States

• Low Involvement Processing

• Neuroscience

• Herds

Need States

‘Need States’ was introduced to the research industry by Wendy Gordon in the mid 90s. The fact that it is widely ignored is evidenced by the large number of surveys which are based on a misapprehension: that consumers make decisions by weighing up a series of rational factors. Our basic intuition tells us this is not true. We may engage the rational part of our brain, but it will be heavily influenced by other stimuli, essentially emotional, and indeed subconscious. Wendy Gordon defines Need States as ‘The complex web of rational, emotional, environmental and personal triggers that lead to brand or product choice.’

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These stimuli combine into different needs – each of which may inform a purchase decision differently. She provides the example of choosing yoghurt in the supermarket. In the example, our shopper may select a) Sainsbury’s Mummy ‘me’ yoghurt, or b) Shape Healthy eating ‘me’, or c) Marks & Spencer’s Thick & Creamy Indulgent ‘me’, or d) Total Greek Sophisticated ‘me’ – depending on the Need State at the time of purchase.

‘People have to let all of their sides function. I mean, I’m stupid, I’m intelligent, I’m fragile, I’m young, I’m old, I’m feminine, I’m happy, I’m humorous, I’m dull, I’m boring – I’m all of these things, not just one of them.’ (Bjork)

Qualitative research still depends heavily on the consumer focus group but many of us now do more observational work – visiting consumers in their homes, or accompanying them as they shop, eat, cook, or wash their car.

Low Involvement Processing

Low Involvement Processing is another concept invented by a qualitative researcher: Robert Heath, in Just Popping Down to the Shops for a Packet of Image Statements (1999).

Heath’s paper was concerned with how we receive, store and access information in and from our brains. With even less take-up in the marketing world than Need States – it’s mainly the advertising world that’s taken the idea on board.

The task of processing – learning and understanding – is divided into three:

• High Involvement Processing

• Pre-attentive Processing

• Low Involvement Processing.

High Involvement Processing is: activated at will; makes intensive use of working memory; relates information to what is already known; and manipulates it; which leads to understanding. This is how we process information in a classroom or a seminar room.

Pre-attentive Processing is: unconscious and automatic – shallow thought. We receive far too much information to process it all – so the brain takes care of much of it for us.

Low Involvement Processing is the opposite of active/high level learning although it sits between the two types of processing just covered. Like Pre-attentive Processing, it’s instinctive. The key difference from high-level is that Low Involvement Processing uses little in the way of working memory. It simply takes and stores, without “thinking” about it. If, however, something ‘clicks’, then a higher level of attention kicks in.

Memory is now not thought to be a series of “pictures from the past”. Rather, a memory comprises a set of connected thoughts. This plus this plus this equals that. These units are called “engrams”. A strong memory is one where the pathways between neurons which make up the engram are reinforced.

‘because brands are so competitive… consumers quickly discover there is little to be gained by trying to rationally analyse and compare brands with each other, so brand decisions tend to be taken intuitively.’ (Heath) 87 Arts Marketing Association Tailor Made: AMA Conference 2007

In other words, via Low Involvement Processing, those messages previously received, and stored within an engram, where they made sense with each other, come together to provide a reason to buy.

The big conclusion is that it’s not explicit learning that’s important in decision-making, but implicit learning. A recent scientific experiment backs up Heath’s work:

‘It appears that although we think we are reasoning out our decisions and choosing our actions deliberately, we may often just be responding more or less automatically to cues in our environment. Only afterwards do we make up reasons to explain what we did.’

(Mark Buchanan about research at the Media Lab at Massachusetts Institute of Technology, Newsweek, July 2007)

Neuroscience

David Penn, a researcher in the USA, monitored brain response via an MRI scanner whilst delivering a taste test on the two leading brands of cola – Coca-Cola and Pepsi.

When tasting ‘blind’, there was no perceptible difference between the two; when tested in the knowledge of which brand was being tasted, Coke won. This is well known territory, but what is interesting here is what happened in the brain. Functional MRI scans allow scientists to see which parts of the brain are being used to process a specific task. The scanner showed that consumers accessed not only the Prefrontal Cortex – the executive area of the brain – they also the Hippocampus – an area associated with memory.

‘We hypothesise that cultural information biases preference decisions through the dorsolateral prefrontal cortex, with the hippocampus engaged to recall associated information.’ (Baylor College, Houston)

Penn concludes that it is the emotions which guide us in our decision-making, rather than rationality.

Herds

Again, the work of one researcher – Mark Earls, of Ogilvy London – is The Latin School: levels of observation and consumption important. AGGREGATED ACTORS SOCIETY Cultures, generations, genders, A key influence on Earls’ work is a social classes, life styles paper called Tribal Marketing by CONCRETE ACTORS TRIBE Interactions, practices, tribes, Cova and Cova, which presents us subcultures with the term Latin School of SINGLE ACTOR INDIVIDUAL Individuals, subjects, cognition, Marketing. motivation, the unconscious

BIOLOGICAL NEED This looks at the social influences Nutrition on consumers, and puts forward the concept of a level of behaviour between the individual and the societal – that of the tribe. The writers argue that we are social

88 Arts Marketing Association Tailor Made: AMA Conference 2007 animals first and individuals second. We deal with this by behaving according to certain social dynamics within our particular circle – or ‘tribe’. We do what we do, and think what we think, not because of an individual instinct, but because of a group instinct.

The suggestion put forward is that this provides a far better basis for explanation of the Coke vs Pepsi phenomenon. Earls says: ‘We buy Coke even though as individuals we prefer the taste of Pepsi, because buying Coke is something that we do.’

And there is much evidence that the group is cleverer than the sum of its individuals. James Surowiecki in The Wisdom of Crowds tells of an experiment conducted by Francis Galton in England in 1906. Roughly 800 attenders at a regional country fair entered a Guess-the- weight-of-the-ox competition. Most were not experts in the subject of cattle. The actual weight was 1198lbs. The average of the 787 guesses was 1197lbs.

The strength of the many is exemplified by Small World theory, or ‘geometry’. Stanley Milgram, a pioneering researcher at Harvard in the 60s devised a method for studying the "small world" effect. Individuals in one U.S. city were given the job of sending a packet to a particular stranger in a different part of the The roles of tribe members country via the acquaintances they knew on a first-name basis. It only took six intermediaries to reach the target stranger, Sympathisers the resulting concept famously becoming the Six Degrees of Separation.

Adherent or Participants The weak links are as important as the strong devotees ones: our strength in society comes from knowing people who know people who know other people. However, as herd members, we Practitioners don’t adopt the same role all the time.

We can take on different roles, and indeed belong to different tribes, even at the same time. This doesn’t diminish the power that the tribe has on the individual.

2. How people’s lives are changing

Again, there are four sections

• Word of mouth

• Co-creation

• Social Networks

• Virtual Worlds

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Word-of-mouth

The BBC News web site names The Da Vinci Code as being a success through word-of- mouth: ‘Word of mouth 'winner for books': Best-selling novels like The Da Vinci Code are often chosen because of a word of mouth recommendation, a survey to mark World Book Day has revealed.’

A good example is The Shawshank Redemption, which bombed twice: first with the critics, then at the box office on general release. When it hit video stores, people liked it, and they talked about it to their friends. In Channel Four's All-time Top 100 Films, voted for by the public, it’s at Number Three, behind Star Wars and The Godfather. Word-of-mouth carried on working for years after its release.

Whilst 90% of people do what the other 10% tell us, the key is not the mechanism (which is in place through all of us) but the message, which needs to be compelling. You can’t control word-of-mouth – and you probably shouldn’t try.

“People tell stories about products. The stories are made up from their own experiences and those of others. The marketing messages get woven into the word-of-mouth stories, but they get changed in the process.” (Dave Butler and John Butman, Grapevine, 2005).

Word-of-mouth marketing is not simple – neither is it one-way. The following advice is worth taking heed of: ‘It’s NOT about creating Word-of-mouth; it is about learning how to make it work within a marketing objective.’ (Word of mouth marketing association, 2005)

Here are some of the Word of Mouth Marketing Association’s Dos and Don’ts: DO: • make people happier • listen to customers • make it easier for them to tell their friends • ensure influencers know about the good qualities of your offer

DON’T: • ignore word-of-mouth as something you have no control over • assume that a good message or story can sell a poor quality product • shill … Shilling is a way of abusing word-of-mouth. A shill is an associate of a person selling goods or services or a political group, who pretends no association to the seller/group and assumes the air of an enthusiastic customer. The intention of the shill is, using crowd psychology, to encourage others unaware of the set-up to purchase said goods or services or support the political group's ideological claims.

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Community marketing falls within Word-of-mouth. Wikipedia defines it as ‘a strategy to engage an audience in an active, non-intrusive prospect and customer conversation. This does four things: • Connects customers with prospects • Connects prospects with each other • Connects a company with customers/prospects • Connects customers with customers

There are two types of community marketing: • Organic (created by users with no company intervention) • Sponsored (fostered and hosted by a company)’ It’s really about ‘connection’. The Word of Mouth Marketing Association says that you "form or support niche communities that are likely to share interests about the brand (such as user groups, fan clubs, and discussion forums); providing tools, content, and information to support those communities.”

The Internet has changed the landscape of communication. An example of this is Podcasting – essentially posting MP3 format files on a web site, for people to download and listen to at their leisure on their iPod, or whatever.

‘Blog’ was the word of the year last year, according to the BBC. Type "blog" into Google and you will get 77 million hits in the UK alone. You’ll also see the British Directory of blogs, and be offered a free service on many sites, to create your own blog.

The greatest examples of what is happening are to be found in the music business, where self-motivated interaction is taking over from the standard ways of promoting artists and recordings. We all know the stories about the Arctic Monkeys and Lily Allen. This is what she said when it all kicked off:

‘I'll log on and have 120 messages like “you're amazing, you're brilliant”… no one could have anticipated the level of attention I'm getting now, and that's purely because of the internet.’

The following quotation is now seven years old:

‘In the Old Economy word of mouth had a powerful but limited impact on a close circle of family and friends. When people had a positive experience, they would tell two or three others. A negative experience generated about ten mentions. In the Net Economy, it's a whole new ballgame. E-mail is the coin of the realm (Bernadette Tracy, President, NetSmart, 2000)… but it demonstrates the influence that the Net is having on word-of-mouth. This was when it was just about email – now it’s so much more.

Co-creation

Our changed society is now more likely to respect our peers and our own instincts rather than ‘authority’. A major example is the rise of the Wiki – particularly Wikipedia, where content is provided by users. Search site Wiki.com offers “thousands of wikis”, plus the ability, through open source software, to create your own.

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James Cherkoff and Johnnie Moore in one of this year’s market research society conference papers has seventeen ‘rules’ of co-creation from a marketer’s perspective.

1. Take what’s thrown at you and build on it. If you mix Diet Coke and Mentos, the results are explosive (take a look on YouTube), Mentos joined in the fun – Coke tried to control the publicity – more of a “No, but…” than a “Yes, and”.

2. Engage your customers: anything from getting people to make a drawing through to getting fans to make videos for ads.

3. Be clear what you want from people. TV show The L-Word gives fans a setting and certain characters as the brief to get them to write an episode: a ‘fanisode’.

4. Make your customers look good. A Bazooka bubble gum campaign encouraged people to copy dance moves, add their own and share them on YouTube.

5. Create opportunity. Red Bull has had tremendous success with its campaign which encourages consumers to make art from used Red Bull cans.

6. Have fun: Adidas’s Adicolour range comes with its own paint.

7. Understand the environment. Be wary of the Cillit Bang example where the fictional character of Barry Scott got the brand into trouble via a ‘fictional’ blog.

8. It’s not about getting someone else to do the job – it still requires hard work.

9. Pay more attention to the 1% of the customer base who are the true ‘fans’, even if they are difficult people to communicate with

10. Get vernacular. ‘It doesn’t matter what you say, if I don’t like the way you’re saying it.’

11. Don’t worry about making a few mistakes on the way

12. Lower barriers. Smirnoff’s Raw Tea launched via a spoof ad only found on YouTube.

13. Let the mess show. Engender trust by providing people with behind-the-scenes peeks

14. Share the secrets. An example is Prêt a Manger, who publish their recipes.

15. Be changed. Accept and Build: listen, take it on board, then take it forward.

16. Show the humanity. Birds Eye recorded the pea harvest through the blog of its agriculture manager.

17. There are no rules! The above are merely guidelines.

Culture jamming

This is co-creation taken to the extreme where targeted brands’ posters, for instance, are defaced in an organized way to make a political or social point. Examples:

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The added speech bubbles on the right have Gary Lineker saying of Walkers crisps ‘They’re still full of junk’ ‘And I’m still a smug bastard.’

The key for the advertiser is to join in where possible – accept and build. Following criticism and spoof ads, the Oxford English Dictionary defines 'McJob' as an 'unstimulating, low-paid job with few prospects'. McDonald's says this definition is now ‘out of date and insulting’, and claims a survey found that 69% of the UK population agree it needs updating. It recently used the McJob tag in its own recruitment advertising, turning the expression on its head.

Social networks

‘It all happened remarkably quickly. The first social networking websites were born just three years ago… today it is the face of the internet. MySpace has just registered its 100 millionth member… receiving more hits in a week than even Google.’ (New Scientist, 2006)

What this quote underlines is the speed of change.

What has fuelled this pace is not just access to the internet per se, and importantly faster connections, but a change to ‘open source’ – as exemplified with Wikis. Running in parallel is the Free Culture Movement, a social movement that promotes the freedom to distribute and modify creative works.

Usage of social networks is widespread amongst the young, and evidence shows that it isn’t just about chat, though that’s clearly important … 54% of 11-20 year-olds in Britain have a profile on three or more social networking sites … it’s also about information-sharing: 40% of all American social networkers use sites to learn about brands or products while 69% and 41% access them to connect with friends and family.

Technorati tracks 1.2 million new blog posts every day – that’s fifty thousand an hour. 100 million videos are downloaded from YouTube every day. A vast number of these are people sharing information about themselves.

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It’s worth busting one of the common myths – that the internet is mainly used by young people and it’s not good for them.

6000 Firstly, it’s not just young 5000 55+ people; look at the size 35 to 54 of the 35-54 cohort 25 to 34 4000 18 to 24 accessing social 2 to 17 networking sites. 3000

2000

1000

0 r e es ed ities gge Tube oc Bebo ou ySpac Blo Y M s Reunit end Yahoo Ge Fri

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Secondly, there is plenty of evidence to show that many key behaviours are rehearsed through internet social networking. Stuart Knapman of Essential Research outlines this chart:

Common behaviours in the spaces market

Underlying needs Personal Individualism & Friend ship & Discovery & Sex & achievement/ creativity belonging exploration relationships actualization

Common behaviours Documenting the moment Popularity Playing the field seeking Networking Self-expression Friendly Social co- curiosity ordinating New Innocent dimensions Keeping in voyeurism touch

Contextual factors

The underlying needs, in blue, at the top, are all well-known. Knapman’s point is that the behaviours exhibited, shown in pink, are not new; and that they contribute to personal development in a big way.

Web 2.0 has altered the consumer communication landscape.

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‘We are living in a world where user comments on brands can be distributed rapidly via video clips or written blogs, and can hold as much ‘truth’ as traditional pushed-out messages from the brand owner.’ (Knapman and Vogt)

Whether you like it or not, people are going to talk about your product. And believe what they read.

Interestingly, Knapman and Vogt predict that MySpace and its ilk are destined to fade away, to be replaced by smaller, socially relevant sites. They talk of ‘villages’ with greater personal relevance, greater control, and deeper connectivity. The best brands will benefit, as they listen to these communities, and feed them with information and ideas, whilst allowing ownership of content to reside with the inhabitants.

Virtual Worlds

Many have heard of Second Life but know little about it. Basically, you construct an online visual representation of yourself, known as an avatar, and travel around inside this ‘second’ world. This is Tim Guest, author, on the right, and on the left his avatar self as it appears both to him and to others he meets within Second Life.

These statistics are taken from the home page of the Second Life site (July 2007): Total Residents: 7,840,369 Logged In Last 60 Days: 1,779,338 Online Now: 42,998 US$ Spent Last 24h: $1,704,932 What makes Second Life special is that the environment is designed and built by inhabitants – not by game designers. It is thus an outlet for genuine self-expression: the ultimate in user- generated content. And you do get to meet other people – in their avatar form.

And you don’t have to just walk around. You can teleport; and you can learn to fly.

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Universities are recognizing the value of Second Life as a way of getting tutors and students together. Edinburgh University has recently ‘built’ a five-storey plate-glass replica of a landmark hotel in Los Angeles which hosts the university’s School of Artificial Intelligence.

Some brands are actually placing themselves within Second Life. There is a sense of inhabitants ‘practising’ purchases inside Second Life: ‘For a marketer, if someone walks around with a certain type of beer in their hand, then in real life they’ll want to buy the same beer.’ (Philip Rosedale, Second Life creator, interviewed in New Media Age)

Another virtual world of note is ‘World of Warcraft’. Their strapline is ‘It’s not a game, it’s a world.’ This is a Massively Multiplayer Online Role-Playing Game (MMORPG). That is – you play online alongside a load of other people. In 2005, the collected volume of annual trade in MMORPGs generally exceeded one billion dollars.

Why enter virtual worlds? Consider the myth of Sisyphus, punished for his crimes against the gods to spend eternity pushing a boulder up a hill, only for it to fall back down, so he must endlessly repeat the task. Albert Camus used this myth to parallel the plight of the modern working class, where the mundane tasks they take on every day are meaningless to them.

Recently, Castranova used this comparison to explain the popularity of virtual worlds – in a game, you DO get to succeed: ‘But in a MMORPG, the huge stone does not roll back down the mountain. No! The Sisyphus in a MMORPG gets the stone to the top and rolls it right over!’ And because you succeed, you gain strength, and thus attempt the next mountain which is bigger, which again you eventually conquer. And so on. The result: fulfilment, self- esteem, happiness. Unlike Second Life, World of Warcraft and its ilk are unwelcoming places for brands. They are, however, places where players socially interact, and can earn and be paid to conduct tasks – there may be potential there. What cannot be ignored is the large and growing number of people who find entertainment in MMORPGs – not mind-numbing games-playing, but interaction with high-level reward.

There is a lot for the arts marketing world to learn from the thinking that has emerged from the world of qualitative research – in recent years, both in terms of what we have learnt about the way people make decisions, and the way they are communicating in the modern age. At the very least, the mechanisms which have been in place for years, to capture feedback on the visitor/audience experience should be challenged.

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Phil Cave, Director, Participation Strategy, Arts Council England, Alexander Tomkinson, Audience Development Officer, Arts Council England and Fiona Sturgeon, Head of Audience and Organisational Development, Scottish Arts Council

Taking Part

Led by Fiona Sturgeon (Scottish Arts Council), Phil Cave and Alexandra Tomkinson (Arts Council England), this seminar looked at data gathered by the two arts councils on participation and engagement through a survey called ‘Taking Part’. Taking Part is a major, continuous national survey commissioned in England by the Department for Culture, Media and Sport (DCMS) in partnership with Arts Council England, Sport England, English Heritage and the Museums, Libraries and Archives Council. In Scotland, the Taking Part survey was commissioned directly by the Scottish Arts Council.

This seminar looked at:

• Who takes part in the arts in Scotland and England? • The possible policy implications • What we can do together to get more and different people to engage

It highlighted issues of categorisation of art forms and social groups, the measurement of the quality of experiences and the difficulties in comparing data between England and Scotland.

[Due to illness, Fiona Sturgeon was unable to present Taking Part during the afternoon session. If anyone has queries about the Scottish research, she can be contacted at [email protected]]

Why engage?

As public bodies, public engagement is part of the constitutional role of the arts councils. The respective Royal Charters of both arts councils focus on developing arts practice and increasing public engagement, so taking part is a constitutional obligation and recently both organisations have been looking at whether they are fulfilling that part of the Royal Charter effectively.

It also forms part of the funding agreements with government, giving certain obligations to increase participation in the arts with a focus on low socio-economic groups, disabled people and black and minority ethnic communities. Although these are targets, they are also priorities for Arts Council England (ACE) and the Scottish Arts Council (SAC) and for many organisations funded by them, and so the targets reflect what these organisations want to do anyway.

In Scotland, the data shows that some of the targets, though not all, have been met. In England, the data shows that although there has been good work and significant differences have been made within local communities, on a macro scale, there hasn’t been any

97 Arts Marketing Association Tailor Made: AMA Conference 2007 significant impact. So, ACE is looking at what can be done differently, bearing in mind there is so much good practice going on.

Increasing participation and engagement helps organisations meet financial and business as well as social objectives and there is some evidence that those that engage best with their public also make really good art.

Scottish Arts Council

Agenda To find new and better ways both to support artists and widen our nation’s participation in the arts at every level

Vision A confident, cultured Scotland where everyone takes part in the arts

What do we aim to achieve? • Support artists and arts organisations in Scotland to fulfil their creative and business potential • Increase participation in the arts • Place the arts, culture and creativity at the heart of learning

Priorities • Increase the scope and quality of our support for artists • Secure the foundation of Scotland’s artistic development • Create flexibility to support the new and innovative • Create opportunities for participation in the arts • Build a culture of co-operation with partners and the arts community • Make the transition to Creative Scotland (2008 or 2009)

Specific actions • New Equalities team, new Head of Creative Industries • The Quality Framework

This is all in the context of devolution and Creative Scotland. Devolution has created major changes in Scotland and cultural entitlement is a key part of the Executive’s policy for a ‘Creative Scotland’. SAC’s strategic review changed its funding and corporate priorities as a result of this.

Arts Council England

Agenda To put the arts at the heart of national life and people at the heart of the arts

Vision We want everyone to have the opportunity to explore their own creativity and be able to experience art that is meaningful to them

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What do we aim to achieve? • greater public engagement across the general population • greater representation, in areas of current under-representation • improved depth and quality of experience

ACE recognises that: ‘We have been supply focused and we need to place greater emphasis on the demand side’ (Peter Hewitt, Leading our Agenda, November 06)

Whilst researching and working towards these revised priorities, the two Arts Councils want to ensure business as usual for their clients, whilst increasing participation and engagement. In the past ten years, ACE has, quite rightly, invested in artists and arts organisations, but we are now at a point in ACE’s history where there’s a need to look through the consumer lens.

Who takes part in the arts?

In Scotland, Taking Part is a household survey of 5,137 people led by Scottish Arts Council, covering a range of cultural activity (not sport). It includes cinema within the data.

In England, Taking Part is a general population survey, involving 27,000 people and covering museums, sport, heritage, libraries, gambling and arts (not cinema), led by the Department for Culture, Media and Sport (DCMS). It’s a rolling survey, taking place on a regular basis throughout the year.

Taking Part provides quantitative data while the recently completed Arts Debate, Arts Council England’s first ever public value exercise, covered more qualitative areas. The Arts Debate started by asking: What does the public value about the arts? It also involved talking to local authorities, artists and arts organisations. The results of this will be shared in October though some of the initial findings will influence the discussions today.

The Taking Part surveys cover all public engagement activities and don’t distinguish between subsidised, voluntary, amateur or commercial sectors or what people do in their spare time. It gives a general overview.

There are also specific data mining exercises in both Scotland and England, such as ‘Snapshot London’, and these look at data from box offices and give an actual picture of much of the work that delegates will be involved in.

Top line engagement

Over three-quarters of all adults (77%) in England have been to an arts event or taken part in the arts in the last year.

• 24% of adults attended an arts event • 11% participated in the arts • 43% both attended and participated • 23% neither participated nor attended

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In Scotland, the figure is 90% although this includes other activities such as reading and cinema. In terms of definitions, within the respective data, there is a clear distinction between whether you attend or participate in something.

Attendance at arts events in England over the past 12 months

30 25.5 24.4 22.7 25 21.8

20 17.3 g 15.4 13.7 15

8.3 % attendin 10 5.6 5.6 4.1 4.9 4.4 3.9 3.8 5 2.2 2.5

0

n s a ic e e o tre r zz s let c ti tion vent val tival l n e art rama pe Ja a bi ibi event t rni es d hea music mu B da t k f t O y danc xh ar ree Ca al r ve exhi c t al er li rt ft e i Boo S ur h sic r A Play or Ot pora he Cra ctron Cult Clas e Other live tem Ot El on C African/Asian dance Arts event

Attendance at arts events in Scotland over the past 12 months

100%

80% 77% 75% 65% 60% 60% 52% 42% 38% 38% 40% % Attending 21% 23% 20% 14% 10%

0% Any arts Any music Any dance None/ don't know don't None/ country) gallery) country music) country museums/ galleries) museums/ Any arts (excluding cinema) (excluding arts Any Any performance in theatre Any arts (excluding rock & pop/ & rock (excluding arts Any gallery/ rock & pop/ country) & rock gallery/ Any music (excluding rock & pop/ & rock (excluding music Any Any visual arts (excludingAny visual arts cinema) (excludingAny visual arts cinema/ Any arts (excludingAny arts cinema/museum/ (excludingAny arts cinema/museum/ Arts Event

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Participation in arts activities in England over the last 12 months

20

16.0

13.3 15 13.0 11.5 11.6

9.2 10 8.4 7.3

4.8 % participating 4.7 4.2 4.3 3.4 3.5 5 2.6 2.1 2.2 0.5 0.5

0 t ce a rt hy ing a s s s s let ng m ra r ft ft ft ft ance e e a ra ra ories d rman rap t cra c t Bal ingi o ing, etcg -mak r c ing art S rf ng music Op t to e g e instrumen y or dra in mpu h uy p al riti Film o t B Other la Pa Pho C Textile Wood crO al sic W P Buyin Writing Writings poetry sic Mu Mu Arts activity

Much of the participatory activity relates to things people do on an individual basis and not about attendance at an arts organisation’s outreach session or class. In previous general population surveys that are comparable to Taking Part, there was no real evidence around engagement in digital art. In Taking Part, the question ‘Have you made art on your computer?’ scored a result of 12%, which is a very significant result. It’s one of the highest statistics, showing how many people are involved in digital art and so the area requires serious consideration.

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Participation in specific arts events and activities in Scotland over the last 12 months

% Part icipat ing 0% 20% 40% 60% 80% 100%

Any (Net) 76%

Drama 1%

Opera or light opera 0%

Singing in a choir 2%

Scot t ish t radit ional dance 2%

Ballet 1%

Contemporary dance 1%

Other style dance 3%

Playing a musical inst rument 8%

Folk/ Scot t ish t radit ional music 2%

Writing poetry 3%

W rit ing st ories or art icles 4%

Reading books 67%

Buying a work of fiction or poetry 26%

Buying any other types of book 28%

Paint ing or draw ing 11% Arts Events and Activities and Events Arts Printmaking 1%

Sculpture 1%

Photography (other than family or holiday snaps) 7%

Knit t ing/ ot her t ext ile craft s 9%

Wood crafts 3%

Any other crafts 5%

Making films (apart from video) 1%

Filming on video (apart from ‘family’ life or event s) 2%

Buying a work of art or craft object 12%

None of these 24%

Don't know/ not stated 0%

In Scotland, computer art isn’t counted within the survey, but this is going to change.

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England: Attendance by region

80 73.1 73.5 69.4 66.0 70 65.3 64.0 61.3 60.8 59.2 60

50

40 attending

% 30

20

10

0 North East North Yorkshire East West East London South South W est Midlands Midlands East W est Region

There are clear regional differences in data. It doesn’t show a simple North/South divide. For example, there are higher levels of participation in the South West Region, even though it has the most limited infrastructure and fewer Regularly Funded Organisations than any other English region. However, it appears that amateur arts activities are very strong there. It doesn’t seem to be the case that people from the South West are going to London to do things, it is happening in rural village halls and in other places. On the other hand, in places like Newcastle and Gateshead in the North East, the investment that has been made into the infrastructure there must have had an impact, but this information isn’t coming through yet.

Q: Is it possible to break down the regional data to look at counties?

A: In England, the research department is going through the data in much more detail and more information will come out. Also, the longer the survey continues, the more information will be drawn out, as the results are cumulative. However, data can only be broken down into postcode area. For example in London, it will go down to ‘N’ or ‘E’ or ‘NE’, but no further than that. In time it will be able to be broken down into counties, such as Norfolk, Cambridgeshire. However, in some cases, where the sample size is very small, data will only be indicative.

Previously, London used to be the top rated region for attendance according to TGI data, but it is now third in the country according to TGI and fourth according to Taking Part. This seems to be due to the changing demographics of London with the inward movement of lower socio-economic groups of immigrants to London. There are quite extreme differences in attendance between different London boroughs.

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Scotland: Attendance by region

73% 70%

63% 64% 60% 56% 57% % Attendance

Edinburgh and East and Central North Eastern Highlands and Glasgow and the South Western South Scotland the Surrounds Scotland Scotland Islands surrounds Scotland Region

In Scotland, there is a divide between the North Central Belt and the South Central Belt. Two local authority areas were put within South Scotland rather than within Glasgow and the surrounds. Glasgow could have looked better in presentation if they had been included within that catchment, but South Scotland would have looked worse. SAC is looking at better catchment areas for and presentation of geographical areas.

The picture of the South though is true, there is a lack of infrastructure there whereas the Highlands and Islands have low socio-economic groups but have a strong network of local promoters and agencies and there has been a great deal of investment in that area, which seems to have made an impact.

Q: You’ve talked about the network of voluntary promoters but I can’t see that you’ve asked anything about people being involved as voluntary promoters through things like the National Rural Touring Forum?

A: The survey picks up whether people have attended something, such as a local event through a touring scheme. If you look on the Arts Council website, there is a weekly round-up of what the data says and the research department has compared data on volunteering and the demographics and motivations of those volunteers, specifically in the arts, so this will cover voluntary promoting. It is only a broad overview but the information is there to be drilled down. The question could be re-worded as some people don’t understand volunteering as something that they do. Any feedback is welcome from delegates as to what they think about the information.

Q: I notice that Scotland does not include Sport. What is the rationale for that, bearing in mind 2012?

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A: That is for historic reasons, as Sport is not within the SAC’s remit, but is within the DCMS’s remit in England.

Q: I come from a tourism background and think this information would be useful for tourism bodies as well. Is this information being made widely available? A: Our websites have the full reports and are regularly updated: http://www.artscouncil.org.uk/aboutus/project_detail.php?sid=13&id=373&page=2 http://www.scottisharts.org.uk/1/information/publications/1003964.aspx

England: Participation by age

70

58.9 60 54.9 54.9 49.4 50

38.2 40

30 % participating% 20

10

0 16-24 25-44 45-64 65-74 75+ Arts activity

Scotland: Participation by age

80%

77%

75%

% Participating 73%

16-34 35-54 55-64 65+ Age Group The Arts Councils and arts organisations have always had a strong focus on engaging young people in the arts. There is some evidence that shows that if you don’t engage young people in the arts, they are not likely to participate or attend in adult life. The data in England however, shows that young people participate at a much higher level than everybody else, but there is a drop when they leave education and then a further drop after the age of 64.

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Given that the population is ageing in most areas, there is an issue around how we balance our policies and investments and also the missions of arts organisations with the ageing population. The Arts Debate has discovered that the post-64 age group is most interested in engaging with the arts but we are missing them, so how do we address this and extend participation into old age?

The categorisation of Scotland’s data is quite different from England’s and Fiona Sturgeon believes that if the 35-64 age groups were split in the same way as England’s data, it would probably show similar results.

England: Attendance by socio-economic groups

90 83 81 80 72 67 70 58 57 60

50 46 % 38 40 30 20 15 14 11 10 7 8 10 6 6

0

At least once a year At least once a month

Higher managerial & professional Lower managerial & professional Intermediate Small employers & own account workers Lower supervisory & technical Semi-routine Routine Never worked & long-term unemployed

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Scotland: Attendance by socio-economic group

78%

52% % Attending

ABC1 C2DE Socio Economic Group

Again, the methods of collecting data around socio-economic groups in England and Scotland are different. ACE used the Office of National Statistics classifications, whereas the SAC uses ABC1 C2DE categorisation. These graphs show very broad figures, but there is more detail and information in the Taking Part reports. Policy implications The arts councils are currently working on a full analysis of data, looking at the difference in attendance and participation between different groups. The aim of this is to be better able to develop policy in response to the evidence, particularly around social exclusion. There are some characteristics that are starting to emerge though, from what has been assessed so far. For instance, it seems that social class is probably the biggest barrier to attendance. If you take away social class from the data, there doesn’t appear to be much difference in attendance between white and BME communities. Although non-attendance may be compounded by factors such as ethnicity or disability, social class and education appear to be more significant factors. However, this area needs deeper probing and the analysis needs to be completed to be able to provide a more conclusive picture. Why aren’t people attending?

It seems that the main reason why people don’t attend the arts is that they’re not interested, or not interested enough to find the time to attend. You can’t force people to attend, but what is it about our work that doesn’t seem to be socially and culturally relevant to people? It may be that we are responding to artists’ needs and interests more than potential audiences’ needs and interests.

Health also appeared to be a big issue in non-attendance. 17% of the white population cited this as a reason and this could be due to the ageing population. However, this data will be analysed in more detail over the summer.

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When looking at non-attendance by socio-economic groups, the analysis of data so far suggests that lack of transport, local facilities and cost are not significant issues in the first instance. Feedback from the Arts Debate seems to show that these become more significant factors once people become interested but initially no amount of free tickets or transport will make a difference if what you are offering is not of interest.

Q: Are you talking about lack of interest in a particular art-form or arts events generally?

A: It seems to be across the whole spectrum; people were offered a whole list of different arts activities and events and asked why they weren’t interested in those things.

Supply and demand Internally, ACE has been looking at what supply and demand in the arts means, which has been a useful exercise.

• Supply-focused activity starts with the artists Some phrases used within supply-focused activity are ‘giving people access to opportunities to engage’, ‘barriers’ and ‘public benefit’. This approach is very important and initiatives such as Decibel will continue to be part of what ACE does.

• Demand-focused activity starts with the general public Some phrases used within demand-focused activity include ‘cultural and social relevance’ and ‘public value’.

As an example, when David Blaine suspended himself over the Thames, if he had applied for a Grants for the Arts Programme, it probably would have scored quite highly in terms of public benefit because it stretched his abilities and many people would have seen it. But whether the public valued the work is another matter. It’s a difficult issue as to how public value will be assessed on an ongoing basis.

To bring the example closer to home, it’s very different to say that we are going to support a range of different arts opportunities and check that they are accessible to, for example, people with learning disabilities, than it is to ask about the needs of people with learning disabilities and what say they have had in creating those opportunities. If we are trying to produce some of the seismic shifts that we aspire to, we can really only do this from the demand-focused perspective.

Supply-led activity is about artists getting up and doing what they want. Demand-led activity is about the general public leading the creative or decision-making process through things like user-generated content. This seems to be where so much innovation is happening.

As a funding body, the Arts Councils don’t feel they can influence the demand-led side of work because you can’t control what people want to do or control innovation. ACE feels that what it needs to do is respond to that innovation effectively, as it becomes more mainstream. To help the Arts Councils and their funded arts organisations work more effectively, there is a need to increase partnership work with the non-subsidised and commercial sector. Arts Council funded activity probably only accounts for 20% of opportunities to attend the arts and only 2% of opportunities to participate in the arts. It’s not about appropriating non-Arts

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Council funded work, but looking at our work from the participant’s perspective, as they are unlikely to consider whether something is arts council funded or not. We need to work together with others to build engagement across all sectors.

To conclude • Within your organisation, region, artform or specialist area, what planned action is likely to make a significant contribution towards: • addressing under-representation? • encouraging greater engagement across the population? • What other action should we consider – regionally and nationally? Questions

Q: In terms of motivation for non-attendance, were people asked what their primary and secondary motivations were for not attending the arts? Did the research look at the different layers of motivation?

Phil Cave: We think it did go through a hierarchy of main reasons and then other reasons, but that kind of information came through more from the Arts Debate focus-groups. It compared people who do engage against people who don’t engage and looked more in depth at the barriers and reasons for non–attendance.

Fiona Campbell, Voluntary Arts Scotland: I’m pleased you’re making distinctions between attendance and participation because previously they have often been lumped together, and there are different motivations for each of these and so I commend you for that. But I think some of the language needs to be changed. When you ask people if they volunteer, most people don’t see themselves as volunteers but as organisers or promoters of events. So I would have an issue about how some of the questions are asked.

A: (Phil Cave): It’s worth looking at the questions that Scottish Arts Council asked because they are a bit more sophisticated, though it still may not be right. But please do feed that back to your funders.

Scottish Arts Council Rep: That is something that we feed back to our respective research departments and will be pleased to hear your feedback.

Alison Coburn, Audiences Yorkshire: In terms of the questions: the way that they are phrased and the compatibility of questions between Scotland and England, I would add an element of caution as researchers. Unless we are clear in stating the terms of reference and saying that this is the basis on which these questions were asked, if we then say that the different data is not comparable with each other, and that questions are slightly different across different areas, you will immediately lose half your intended audience, who will receive that information and then use it in terms of product development or marketing and we need to be very careful about not damaging the message before it’s delivered.

Alexandra Tomkinson: In England, we’ve started to look at household surveys to see if we can align the questions that are being asked by local authorities with questions in the Taking Part survey. That is also happening in Scotland. The Scotland questions are asked by SAC

109 Arts Marketing Association Tailor Made: AMA Conference 2007 and England’s questions are asked by DCMS so the research departments in England and Scotland are looking at making the next phase of questions more compatible. We are also looking at how we match this information with information coming from data mining exercises. What is good is that we have robust sample sizes that can be relied upon and it is better than anything we have had before and we are thrilled with it as a starting point.

Lisa Baxter, Independent researcher: Have you considered observational research within people’s homes as a tool? It’s probably very difficult in terms of economies of scale, but one thing I am learning is that when you are dealing with culture and art and engagement, you are dealing with things that operate on a subconscious level. When you rely on tick-boxes and questions, people will come with a set of expectations to those questions, and although those responses are very important and have value, sometimes there are more things you can learn about how people respond as a first-time attender if you use observational research. Is it something you’ve considered as part of the mix?

Phil Cave: DCMS have done something called ‘Timeline’ where people record their own activities. It’s about getting the balance between something that is systematised and broad enough to cover the whole country and something similar to what you suggest. Even looking at getting more local data could cost between £3m - £6m a year.

Alexandra Tomkinson: This survey cost £5m a year which is a massive investment and to do localised surveys costs £3 - £6m a year. What you suggest may be useful on a local level to when we can’t fathom what’s happening there.

Lisa Baxter: Certainly it couldn’t be applied nationally as you couldn’t have a small sample of individuals and roll it out. But what it could give you are insights that you didn’t have before and which you can then test nationally.

Phil Cave: Picking up on that, the Arts Debate started as a debate with the general public and then went to local authorities, stakeholders and artists and asked for their responses to what was said. It finished with a deliberation stage involving about 100 people, representative of the demographics of Britain. Opinions were asked at the beginning of the day, then a team of specialists who make art happen, talked about what they do and the decisions they make. Apparently after about half an hour, you couldn’t tell who was an artist, who engaged in the arts and who didn’t, because people went on that journey together. There were some differences between artists who were primarily about their artform and those artists that liked working in a social context, but there was a huge amount of common ground and quality of experience was important to everyone. At the end of the day, everyone in the room was turned into funders temporarily and asked to make funding decisions between different projects. People generally agreed that they didn’t just want entertainment from public subsidy, they wanted something edgy or challenging or which provided something different.

It’s quite tantalising to see if we can measure the quality of experience but it’s quite terrifying to think of how we can do that apart from mystery shopper type exercises and programmes that test the extrinsic aspects of the arts.

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James Hanks, Royal Liverpool Philharmonic Hall: You raised some interesting headline news about the barriers but were there interesting headlines about the positive motivations that make people attend or participate?

Phil Cave: Yes, doing things with families and friends was much higher up in importance than we had thought, for example children and young people do want to do things with adults. There is that sense of cultural and social relevance which mattered to people which is difficult to pinpoint.

Alexandra Tomkinson: DCMS recently commissioned FreshMinds to do a desk research report, which is available on the DCMS website, looking at the motivations amongst different socio-economic groups. For higher socio-economic groups, it was around intellectual stimulation and people don’t mind going independently but for lower socio-economic groups and for BME communities, the social aspect was the fundamental reason for doing anything.

Heather Maitland: What I find most fascinating about your presentation is the shift in thinking from being supply-led to being demand-led and that seems to be quite extraordinary, and ties in very nicely with the keynote speeches this morning [John Knell and John McGrath]. I wonder if it’s worth exploring that a bit more?

Alexandra Tomkinson: As we said earlier, we know that we can’t make an overall impact on everything in our own right and yet we want our organisations to be able to flourish as businesses and to be doing as much as possible. But the conversation has moved away from saying that everybody needs to get 5% more people involved to looking at how to have an effective conversation with arts organisations about doing what is appropriate for their artforms and communities in terms of developing, stretching and moving forward and that has an impact. We haven’t got to grips with how to manage that level of detailed conversation with 1200 organisations yet, but we are looking at it across all departments and regions. And it’s a conversation that is already happening within arts organisations as well.

Phil Cave: It’s not as straightforward as I’d originally thought either. In terms of articulating what it means, it isn’t about ‘dumbing down’. The difference in our sector is defining what a quality experience is. That has to be self-defining but where you put the peer assessments and knowledge of the history of the arts within that is difficult because that knowledge isn’t irrelevant, so we have to find a way of putting those things together.

Alexandra Tomkinson: In England, local authorities are moving towards Local Area Agreements and of course they are under four key themes. If arts targets aren’t within those themes, then the arts won’t get funded and that’s a very instrumental approach, so how do you balance that with what’s happening in terms of public engagement and the sector? It’s very different to the ways that local authorities express themselves but in order to sustain the massive investment that is put in by local authorities, we have to be able to have both conversations and that’s a challenge for everybody, not just the Arts Council and I think it’s going to be one of the hardest things to manage within this shift.

Phil Cave: Is this something that’s familiar to you?

Sarah Foster, Creative Arts East: One thing that struck me was what you said about the ageing population. Although we do a lot of work with young people, we also do a great deal

111 Arts Marketing Association Tailor Made: AMA Conference 2007 of work through the rural touring scheme which involves people in the 50+ age range. Our local authorities are acutely aware of the ageing population and want to know what we are doing with older age ranges. On another point, I think that the National Rural Touring Forum is something that is demand-driven and demand-led and would be an interesting example for you.

Q: Is too much money being spent on quantifying data rather than making a difference?

Phil Cave: I don’t think enough is being spent on evaluation. In the past we have made decisions based on very little evidence and this is a chance to change that and make better use of public funding.

Emma Walker, Arts about Manchester: Who defines the artforms included in the survey?

Fiona Sturgeon: Art form categorisation has been a hot potato. Digital Art wasn’t included as a category in the Scottish survey and so that has been a big issue. However, the categories are quite broad and so people questioned can answer according to their own interpretation.

Alexandra Tomkinson directed delegates to the Henley Centre’s report for arts council on developing a healthy 21st Century arts ecology: http://www.artscouncil.org.uk/aboutus/project_detail.php?rid=0&sid=&browse=recent&id=471

If people want to feedback to the arts councils on Taking Part and the questions asked, please contact Phil, Alexandra or Fiona.

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Other activities Round Tables

Round Table discussions focused on removing barriers to public engagement and were split into two groups.

Group A (morning sessions of Thursday and Friday) had the following topics: • Does your brand have heart and soul? Lisa Baxter, freelance consultant • Marketing using SMS and mobile technology. Abby Dix, Project Development Manager and Andrew Wilson, Director, Blinkmedia. • Low cost online personalisation. Dan Ramsden, Company Manager, Dead Earnest. • Marketing on a shoestring. Andy Sheppard, Campaign Manager, The Mayflower. • Campaign planning. Abigail Carney, Freelance Consultant. • Eco-friendly marketing. Louisa Davison, Freelance Consultant. • Copywriting surgery. Stephen Forster, Freelance Consultant. • Personalised ticketing. Fergus O’Keefe, Channel Manager, Arts and Entertainment, Tickets.com. • Market research. Rachel Escott, Freelance Consultant. • Career development. Helen Stallard, Freelance Consultant. • Can coaching transform your situation? Alasdair Cant, Trainer and Accredited Coach. Group B (afternoon sessions of Thursday and Friday) had the following topics: • Marketing to those on low income. Richard Bliss, Freelance Consultant. • Evaluating experiences. Sarah Bedell, Freelance Consultant. • Tailored language. Anita Van Mil, Director HopkinsVanMil: Creative Connections. • The renaissance of subscription. Tim Baker, Director, Baker Richards Consulting Ltd. • Writing relevant copy. Jo Dereza, Marketing Director, SWAM. • An introduction to qualitative research. Alan Love, Director, Travel, Tourism and Leisure, BDRC Ltd. • Working effectively with your board. Madeline Hutchins, Arts Management Trainer and Consultant. • Full house – turning data into audiences. Roger Tomlinson, Freelance Consultant. • Customer relationship management (CRM). Jack Rubin, Director, Business and Marketing, Tessitura. • E-ticketing. Martyn Luke, Sales and Marketing Manager, Ticketmaster. • Freelancers discussion forum. Ros Fry, Marketing Consultant and Trainer. • Career development. Matt Cawardine-Palmer, Freelance Consultant.

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Exhibitors at conference

Tickets.com, Audience View, Blackbaud, Celebratio, Direct Distribution, EAE, Enta, Lijnco, Mobius, Purple Seven, SAM’s Books, Savage and Gray Design, Scottish Arts Council, Tessitura, ts.com, Ticketmaster.

Tickets.com presentation: What’s new at Tickets.com? Thursday 26th July This was a lunchtime session led by Fergus O’Keefe from Tickets.com, the main sponsor of the conference, who talked about new developments in Tickets.com’s products.

Databox started 15 years as a dos product becoming Databox 3 (the first windows based ticketing and marketing system) and 4 and the most recent being Provenue Databox which offers chip and pin authorisation. Pass was the first pc based ticketing system, Pass 2 sold the first real time internet ticket in the world and this has now become Provenue Max. There are 550 venues in UK and Ireland using Databox or Provenue Max.

New developments are:

• Mobile ticketing: tickets, vouchers and marketing offers to mobile phones. Currently being developed with Mobica. Metro Theatre in Australia using this system with 50% of all tickets being sent to mobile phones. Being rolled out in autumn 2007. Barcodes enable offers too.

• Facility scheduling: half of customers use Artifax, therefore developing automated link between two systems. Provenue One will also have a simple planner ultimately.

• Tickets at home: trialled in The Netherlands, ticket printed at home, scanner linked to pc which will tell you if the ticket is valid. There are also full blown versions linked to access control.

• Enhanced online offering: live settling with venues so money goes to venue straightaway not at end of week. Also, view of stage incorporated (instead of ‘best available’) and interactive seating plan. Cross and upselling possible. Account management and membership recognition being introduced in autumn.

Provenue One

Nov 2007 – integrated online offering. Venues able to host eliminating per ticket fees.

March 2008 – Tickets.com Conference – official launch of ProVenue One

June 2008 – Second phase of integrated internet. More functionality

Tickets.com

Over 70% of staff used to work in venues and it is the only supplier with a helpdesk institute accreditation. New marketing and account management team: Jacqueline Parker and Hannah Jacobson were introduced. Improvement of customer relations will be a key priority. Provenue Net will be re-launched in October 2007 which will improve communication.

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Social and networking opportunities

Wednesday evening event took place at the Royal Museum, supported by National Museums Scotland and hosted by Tickets.com. After a free drink and meal, a casino night gave conference delegates the opportunity to try out their gaming and gambling skills at Black Jack and Roulette. Some were better than others and some should ‘seriously re- consider their day jobs’ (according to Beth Aplin who presented prizes on the Thursday afternoon). For the record, the winners were:

1st Prize Kate Carreno: 1125 points 2nd Prize Steve Forster: 920 points 3rd Prize Adrian Potts: 548 points

Thursday evening social was supported by the National Theatre of Scotland and featured a free glass of wine and a fork buffet. Afterwards, delegates dispersed to the streets of Edinburgh with a large number ending up in the Traverse Theatre bar.

On Friday evening the conference ended with a farewell drinks reception at the Edinburgh International Conference Centre.

115 Arts Marketing Association Tailor Made: AMA Conference 2007

Delegate list

Name Surname Organisation Katie Abram Discovery Museum Melanie Adams Royal Academy Of Dance Marge Ainsley Harris Museum & Art Gallery Julie Aldridge AMA Jane Alexander Scottish Poetry Library Caroline Alford St David's Hall James Allenby Dance Base Gillian Allmark Nuffield Theatre Anna Ambrose City of Birmingham Symphony Orchestra Sharon Ament Natural History Museum Kirstie Anderson GASD Sarah Anderson De Montfort Hall Nadine Andrews Arts About Manchester Beth Aplin Henderson Aplin Partnership Laura Arends Liverpool Everyman & Playhouse Alastair Armit Blackbaud Europe Ltd Catherine Armstrong Imperial War Museum North Hazel Arthur Opera North Charlotte Atherton LWL Consultancy Craig Atkins An Lanntair Alison Atkinson Freelance Consultant Dawn Atkinson Northern Ballet Theatre Emma Avery felicitas marketing consultancy Chantal Badjie BBC Pam Badwal Impact Distribution & Marketing Julia Bailey Royal Academy Of Arts Ian Baird Spitalfields Festival Joanna Baker Edinburgh International Festival John Baker Churchill Theatre Nina Baker Siobhan Davies Dance Paul Baker Ticketmaster Tim Baker Baker Richards Consulting Hannah Baldwin Arts Council England, North West Kemi Bamidele Independent Theatre Council Grace Bannan BSL Interpreter Kirstin Bannerman Project Ability Tania Banotti Theatre Forum Ireland Alison Barker Shakespeare's Globe Hannah Barnes LIFT Tony Barnes Tessitura Software Kate Barrett The Stables Theatre Ltd Jacky Barron The Alexandra Theatre

116 Arts Marketing Association Tailor Made: AMA Conference 2007

Julia Barry Warwick Arts Centre Jacqueline Barsoux Barbican Centre Kym Bartlett Royal Court Theatre Lisa Baxter Marketing/Branding/Research Sarah Bedell Aspirational Arts Partnerships Gareth Beedie National Theatre Of Scotland Colin Beesting BFI Gerri Bennett Exeter City Council Glen Bennett EAE Ltd Adrian Bevan VisitBritain Esther Black National Museums Scotland Helen Black TAG Theatre Company Victoria Blackburn ISTD Ben Blackwell Live Nation Richard Bliss Freelance Consultant Helen Blythe Opera North Nick Boaden West Yorkshire Playhouse Sarah Boiling Audiences London Helen Bolt AMA Clare Booth Festival City Theatres Trust Jan Booth Aberdeen Performing Arts Louise Booth Lancashire County Museums Jenny Boyatt The Sherman Theatre (CTNWC) Jon Bradfield Out Of Joint Catherine Bradley Gallery Oldham Johnathan Branson Audiences Central Jo Breeze The National Gallery Ceri Brierley Phoenix Dance Theatre Elizabeth Brillante New Theatre Carole Britten Brighton Dome and Festival David Brookbanks Theatre Royal Newcastle Alan Brown WolfBrown Jill Brown Collective Gallery Vicky Brown Hampstead Theatre Stuart Brownlee sbworks Howard Buckley Chichester Festival Theatre Doug Buist London Sinfonietta Heather Bulfin Culture & Arts Unit, Belfast City Council Graham Burley Stamford Arts Centre Susie Burnet Edinburgh International Festival Daniel Burrows Tickets.com Limited Sarah Burry-Hayes Scottish Museums Council Annabel Busher AMA Adam Buss QUAD Anna Cahill Contact Fiona Campbell Voluntary Arts Scotland

117 Arts Marketing Association Tailor Made: AMA Conference 2007

Alasdair Cant Trainer and Coach Robbie Carnegie Buxton Opera House Abigail Carney Abigail Carney Associates Kate Carreno Sainsbury Centre Claire Carrington Stamford Arts Centre Carwardine- Matt Palmer MCP Arts Marketing Una Casement Lisburn City Council Jacquie Cassidy Historic Royal Palaces Phil Cave Arts Council England Jennifer Cawkwell Tate Sean Chapman London Calling Arts Ltd Anca Chung Southbank Centre Emily Clarke Royal & Derngate Alison Clark-Jenkins Arts Council England, North East Andrew Clemens TCS Media (Planning & Buying) Emma Clements Impact Distribution & Marketing Alicia Clyde Cultivate Alison Cockburn Audiences Yorkshire Sarah Cockburn Henry Moore Institute Emma Cocker North Devon Theatres Trust Jamie Colston All About The Arts Giles Conisbee Pitlochry Festival Theatre Lucy Conlan Barbican Centre Anwen Cooper Polka Theatre Richard Coopey Unicorn Theatre Jo Cottrell London Calling Arts James Coutts National Museums Scotland Kay Cowper National Maritime Museum Billie Crabtree Worthing Theatres Simon Crane Tickets.com Limited Natalie Creary Cultural Centre, Eastbourne Steph Cribbs Dance City Laura Crielly Carnegie Hall Alex Croft West Yorkshire Playhouse Isabelle Croissant Cornerhouse Jennifer Crowley The University Of Salford Laura Cuffe Macrobert Jackson Cummings Stoke-On-Trent Theatres Ltd Amanda Cunningham Ticketmaster Emma Cureton Live Nation Esther Currie YDance Margaret Currie Glasgow's Concert Halls Ono Dafedjaiye Heart 'n Soul Julia Davies Theatre Sans Frontieres Jess Davis Mobius Industries Ltd

118 Arts Marketing Association Tailor Made: AMA Conference 2007

Louisa Davison Secret Agent Marketing Kofi Debrah Luton Carnival Arts Development Trust Chris Denton Barbican Centre Jo Dereza South West Arts Marketing Katherine Dimsdale AMA Dave Dingle AudienceView Software Abby Dix Blink Jo Dobbs Stamford Arts Centre Michelle Doherty Hall For Cornwall Trust Holly Donagh Arts Council England Caroline Donald Promote YT (Scotland) Jane Donald Glasgow's Concert Halls Charlotte Dove Apples & Snakes Joanna Down West Yorkshire Playhouse Sinead Doyle National Concert Hall Simon Drysdale Impact Distribution & Marketing Sophie Dubber Salisbury Arts Centre Kelly Duffy Royal Court Theatre Gene Dugan-Brause Drill Hall Helen Dunnett Royal Northern College Of Music Amy Dutton Northern Ballet Theatre Rachael Eades The Bluecoat Julie Eaglen Arts Council England, West Midlands Rachel Easton amh Alison Edbury Audiences Yorkshire Jim Edgar BSL Interpreter Rob Edwards AudienceView Software Jessica Egan Action Transport Theatre Co. Nina Eggens Peacock Visual Arts Clare Elder Telesecure Group Limited Jessica Epton Tickets.com Limited Rachel Escott Rachel Escott Marketing Chris Evans Royal Philharmonic Orchestra Kate Evans Live Nation Fran Eyles Rambert Dance Company Linda Fabiani MSP Minister for Europe, External Affairs & Culture Fabian Facey Contact Stephanie Falkiner Birmingham Repertory Theatre Rachel Feneley Birmingham Hippodrome Theatre Hannah Fenton AMA Alison Ferguson FACT Jane Ferguson National Museums Scotland Sine Fleet Harris Museum & Art Gallery Carol Fleming Royal Scottish National Orchestra Katherine Flynn DanceXchange Stephen Forster sfp Communications

119 Arts Marketing Association Tailor Made: AMA Conference 2007

Amelia Foster Roald Dahl Museum And Story Centre Sarah Foster Creative Arts East June Francois Audiences Wales Ros Fry Consultant and trainer Dawn Gabriel Assembly Hall Theatre Gillian Garratt Richard Attenborough Centre Karen Gartside Ulster Orchestra Rebecca Garven Watershed Sarah Gee DixonRaines Susannah George Ambassador Theatre Group Gemma Germains Contact Emily Ghassempour Unicorn Theatre Derek Gilchrist Edinburgh International Festival Jonathan Gilchrist The Lowry Cheryl Gill Arts Council England, East Midlands Sally Goldsmith Sainsbury Centre for Visual Arts Jonathan Goodacre Gusto Arts Management And Consultancy Michael Goode The Arts Council Of Wales Kathryn Goodfellow Gala Theatre And Cinema Natasha Goodge Royal Shakespeare Company Christopher Goodhart Blackbaud Europe Ltd Camilla Gordon Lennox English National Opera Lisa Grant Leeds City Council David Gray Savage And Gray Design Ltd Sarah Gray National Theatre Of Scotland Naomi Greene amh Caroline Greener Audiences North East Jackie Greenshields BSL Interpreter Dianne Greig Glasgow Grows Audiences Ltd Lucy Grierson Derby Playhouse Caroline Griffin Audiences Central Victoria Grimbly Royal Liverpool Philharmonic Orchestra Bea Grist Lakeside Arts Centre, Nottingham Colette Grufferty Ticketmaster Steven Hadley Audiences NI James Hails Northern Film & Media Nick Hallam Royal & Derngate Peter Hamlin Impact Distribution & Marketing James Hanks Royal Liverpool Philharmonic Hall Laura Hannaway Middlesbrough Council Rachel Hanson Wales Millennium Centre Tracy Harding Norfolk Museums Service Matthew Hare ts.com Alvin Hargreaves Plymouth Pavilions Fay Harris Amgueddfa Cymru Rachel Harrison Audiences Central

120 Arts Marketing Association Tailor Made: AMA Conference 2007

Simeon Hart Common Ground Sign Dance Theatre Chris Harvey Sheffield Galleries and Museums Trust Meli Hatzihrysidis Arts Council England Kathryn Havelock Southbank Centre Kirsty Hay National Museums Scotland Alix Hearn Watford Palace Theatre Emma Hegarty FLGA Corrina Henderson Southbank Centre Sarah Heney Edinburgh Playhouse Lucinda Hennessy English National Ballet Jill Henry Dumfries & Galloway Arts Association Caishlan Herd Dundee Repertory Theatre Damien Hewitt New Wimbledon Theatre Aileen Hickey British Library Lucinda Hilbery Serious Eric Hildrew Sheffield Galleries and Museums Trust Laura Hill Live Nation Alex Hinton The Audience Business Robin Hodge The List Zol Hoffmann Impact Distribution & Marketing Jane Hogg Freelance Consultant Catherine Holden National Museums Scotland Isla Holloway The Piers Arts Centre Katie Holmes Dundee Contemporary Arts Suzanne Hopp Eastbourne Theatres Sarah Horner BBC National Orchestra Of Wales Ellie Hoskin English National Opera Maria Howes BCMG Amanda Howson Cumbernauld Theatre Tracey Hughes Unit Communications Group Sorcha Hunter Serious Tom Hunter London Calling Arts Ltd Kerryn Hurley Scottish Dance Theatre Madeline Hutchins SAMs Books Catriona Hutchinson Scottish Opera Helen Ireland Scottish Opera Stephanie Irwin Rambert Dance Company Anna Izza FACT Alice Jackson Audiences NI Marianne Jacques Royal Shakespeare Company Mike James Unity Theatre Sian James Amgueddfa Cymru Rachel Jeffcoat Audiences Yorkshire Ben Jeffries Macrobert Jodie Jenkins Royal Albert Hall Lis Jennings The Cogency

121 Arts Marketing Association Tailor Made: AMA Conference 2007

Lauren Johnston-Smith Scottish Chamber Orchestra Andrea Jones London Calling Arts Ltd Carol Jones Chapter Arts Centre Roisin Jones Wales Millennium Centre Wendy Jonker Roelants Europrint Laura Jukes Edinburgh International Festival Jo Kay Arts About Manchester Ann Kellaway The Arts Council Of Wales Janice Kelly Scottish Arts Council Tracey Kelly D8 Design Rachel Kennedy Down Arts Centre Robbie Kings Theatre Royal Plymouth Joanna Kirby Theatre Royal Newcastle Sharon Kirk Riverside Theatre John Knell Intelligence Agency Alison Knight Arts Council England Nadja Kuenstner Candoco Dance Company Teri Laing Newlyn Art Gallery Ros Lamont The Audience Business Joanne Lane Salisbury Arts Centre Lawrence Lang Ticketmaster Carol Larkin Arts Council England, North East Hollie Latham The New Art Gallery, Walsall Karen Lawton felicitas marketing consultancy Verity Lea Urban Circus Corinne Leader Manchester Museum Liz Leck Birmingham Hippodrome Theatre Jo Lennie Ambassador Theatre Group Joanna Lennox National Youth Choir of Scotland Alison Lewis Glasgow's Concert Halls Helen Liddle The Drum Kirsty Lincoln Centre For Contemporary Arts Andy Lindsay Tramway Pak Ling Wan Audiences London Lynne Lockyer Nuffield Theatre Frances Longley mac Alan Love BDRC Lewis Lovejoy Telesecure Group Limited Nicola Luckin Worthing Theatres Martyn Luke Ticketmaster Sandra Lunghis Dubai Theatre & Arts Centre Amy Lynch Theatre Royal Newcastle Shona Macdonald The Highland Council Sheena Macrae Scottish Chamber Orchestra William Maidwell Target Live Heather Maitland Freelance Consultant

122 Arts Marketing Association Tailor Made: AMA Conference 2007

Tim Manley Manchester Museum Laura Manning Bristol Old Vic Jamie Marrable London Calling Arts Ltd Nicki Marsh Soho Theatre Rob Marshall Arts Council England Alison Martin Citizens' Theatre Bernard Martin TEAM Douglas Martin Tron Theatre Robert Martin The Lowry Lucy Mason Scottish Executive Jenny Mather Buxton Opera House Su Matthewman West Yorkshire Playhouse Duncan May Ambassador Theatre Group Geraldine McAdam Direct Distribution Marianne McAtarsney National Theatre Of Scotland Brian McAteer Assembly Hall Theatre Sam McAuley McAuley Arts Marketing Tommy McCormick Direct Distribution Sheila McCubbin Dance House Alison McDicken Dundee Repertory Theatre Amy McDonald The Audience Business Lisa McFall Cadogan Hall Adam McGinlay Cadogan Hall John McGrath Contact Chris McGuigan Stoke-On-Trent Theatres Ltd Laura McKechan Imperial War Museum Elspeth McLachlan nva Linda McLean Platform Gwen McLeod Scottish Arts Council Cat McNaught Citizens' Theatre Keren McPhee D8 Design Julie McSkimming Festival City Theatres Trust Jan McTaggart Dundee Contemporary Arts Stephan Mehl Riksteatret Deesha Meisuria Leicester Theatre Trust Silvia Melchior Southbank Centre Sarah Melhuish Royal Liverpool Philharmonic Orchestra Amy Mellstrom Live Theatre Rachel Menzies Brunton Theatre Louise Merrin Liverpool Biennial Wendy Middleton Live Nation Craig Millar Arc Kirsty Miller Tron Theatre Rachel Miller Live Nation - Manchester Theatres Penny Mills Audiences London Tabitha Milne Diversions, The Dance Company of Wales

123 Arts Marketing Association Tailor Made: AMA Conference 2007

Rikke Moerch The Royal Danish Theatre Shirley Monteith The Royal Lyceum Theatre Emma Mooney Northern Ballet Theatre Bruce Moore Seatem Elin Morgan Lyric Hammersmith Harriet Morgan-Shami The University Of Salford Neil Morrin Arts Council England, North West Peter Muir Glasgow's Concert Halls Nicola Mullenger LabforCulture Mark Mulqueen Arts Council England Damian Murphy Ticketmaster Claire Murray Royal & Derngate Neil Murray National Theatre Of Scotland Sheena Murtagh Dubai Theatre & Arts Centre+C334 Kulbir Natt Darbar Sofia Nazar Lakeside Arts Centre, Nottingham David Newland The Arts Council Of Wales Ed Newsome Welsh National Opera Eithne Ni Chonghaile Scottish Museums Council Stuart Nicolle Purple Seven Ltd Marie Nixon Arts Council England, North East William Norris Orchestra of the Age of Enlightenment Lynda Nurse Worthing Theatres Sally Oakley Telsecure Group Ltd Sarah Ogle Liverpool Everyman & Playhouse Sarah O'Hanlon Tricycle Theatre Alison O'Hara Audiences North East Fergus O'Keefe Tickets.com Limited Chris O'Kelly The Queen's Theatre Greg Page Leicester Theatre Trust Katie Paling The Place Liz Palles-Clark Baker Richards Consulting Chris Palmer Audiences NI Jacqueline Parker Tickets.com Limited Neil Parker AMA Ruth Parker Ticketmaster Damon Parkin Derby Playhouse Sati Parmar The Drum Alison Parry Museum Of London Jenny Paton Mobius Industries Ltd Steve Perry Usher Hall Emma Peters Philharmonia Orchestra Jennifer Phillips Aberdeen International Youth Festival Sara Phillips AMA Debbie Plentie Theatre Royal Brighton Magnus Poole Theatre Royal Nottingham

124 Arts Marketing Association Tailor Made: AMA Conference 2007

Nancy Poole Soho Theatre Lindsey Pope mac David Popple Stamford Arts Centre Alan Postlethwaite ts.com Adrian Potts EAE Ltd Martin Prendergast Guardian Media Group Megan Price Chapter Arts Centre Georgette Purdey Purdey Arts Marketing Daniel Pursey Mobius Industries Rashid Qajar Telecsecure Group Limited Katy Raines DixonRaines Daniel Ramsden Dead Earnest Theatre Adey Ramsel Caught Jesters Theatre Company Emily Ransford Imperial War Museum Howard Raynor World Class Service Ltd Paul Reece Birmingham Repertory Theatre Fraser Reid Dundee Contemporary Arts Claire Richards Rothes Halls Debbie Richards Baker Richards Consulting Martyn Richards Martyn Richards Research Ltd Jim Richardson SUMO Andrew Ridal Arena Theatre Claire Riddoch Brunton Theatre Clare Rigg Discovery Museum Gordon Rintoul National Museums Scotland Elise Roberts Leeds City Council Karen Roberts Arts About Manchester Vicky Roche Brighton Dome and Festival Clare Roebuck Camden Arts Centre Julie Roger Arc Scott Rogers Bristol Old Vic Muriel Romanes Stellar Quines Theatre Company Wendy Rouse Red Earth Theatre Jack Rubin Tessitura Software Hannah Rudman Rudman Consulting Sheila Ryall Assembly Hall Theatre Ashley Ryce Dundee Contemporary Arts Naomi Saffery Glyndebourne Festival Opera Tim Savage Savage And Gray Design Ltd Vanessa Savage Savage And Gray Design Ltd Jonathan Saville Royal Centre Robin Scates National Maritime Museum Tom Schoon Wycombe Swan Kate Schweizer Wiltshire Music Centre Avril Scott Freelance Consultant Katherine Scott The Brewhouse Theatre & Arts Centre

125 Arts Marketing Association Tailor Made: AMA Conference 2007

Samantha Scott Artsadmin Sue Scott-Avis Seatem Jenny Scudamore Baker Richards Consulting Carys Shannon The Sherman Theatre (CTNWC) Tracey Shaw Theatre Royal Brighton Vic Shead Brighton Dome and Festival Jennifer Sheen EAE Ltd Madeleine Sheen Live Nation Andrea Sheppard The Mayflower Lucy Shorrocks Welsh National Opera Jessica Silvester Royal Albert Hall Clare Simpson Royal Exchange Theatre Carolyn Sims Ticketmaster Keira Sinclair Scottish Arts Council Amanda Singleton Guardian Media Group Sam Skillings Compton Verney Beth Smallwood The Courtyard Alison Smith Norfolk Museums Service Bonnie Smith Dundee Rep Theatre Dan Smith BFI Emma Smith Milton Keynes Theatre Ltd Marianne Smith Theatre Royal Plymouth Nikki Smith Contact Chris Snelders Roelants Europrint Katharine Sorensen Milton Keynes Gallery Janine Sproule Talbot Rice Gallery Alan Stacey Talawa Theatre Company Helen Stallard Freelance Consultant Neil Staunton Purple Seven Ltd Chantelle Staynings English Touring Opera Fjola Stenning Wycombe Swan Philip Stephan Southbank Centre Lisa Stewart Perth Theatre & Concert Hall Victoria Stiles Barbican Centre Charlotte Stock BBC National Orchestra Of Wales Daniel Storer Impact Distribution & Marketing Heather Stradling Freelance Consultant Fiona Sturgeon Scottish Arts Council Deb Sullivan Royal Northern College Of Music Romy Summers Cadogan Hall Kirsten Swanston Stephen Joseph Theatre Julie Tait Glasgow Grows Audiences Ltd Elsa Tatevossian Royal Philharmonic Orchestra Alex Taylor Arts Council England, East Jo Taylor Welsh National Opera Laura Taylor Royal Scottish National Orchestra

126 Arts Marketing Association Tailor Made: AMA Conference 2007

Lynsey Taylor Scottish Opera Katie Teasdale South West Arts Marketing Clare Thomas Heart 'n Soul Steffan Thomas Galeri Caernarfon Emma Thomson National Museums Scotland Emily Till The Sage Gateshead Alexandra Tomkinson Arts Council England Roger Tomlinson ACT Consultant Services Helen Tovey Warwick Arts Centre Dylan Tozer Wales Millennium Centre Lisa Trail New Zealand Symphony Orchestra Penn Trevella Wales Millennium Centre Megan Tripp Artsdepot Chris Tucker AMA Jonny Tull Tyneside Cinema Aimee Turner Eastbourne Theatres Scott Turner Liverpool Everyman & Playhouse Adrian Turrell-Watts Rejects Revenge Theatre Co Sharon Tuttle Arnolfini Theresa Valtin Filmhouse Anita van Mil Hopkins Van Mil Samantha Vaux National Museums Liverpool Sonja Vetter BFI Edwina Vine The Jewish Museum Karl Vosper Blackbaud Europe Ltd Libby Waddington Young Vic theatre Company Emma Walker Arts About Manchester Ben Walmsley National Theatre Of Scotland Sian Walters Amgueddfa Cymru Charlotte Ward EMG Media & Mktg Ltd Claire Ward Milton Keynes Theatre Ltd Catherine Warren amh Andrea Watt Aberdeen Performing Arts Graham Watts TCS Media (Planning & Buying) Bethan Way The Sherman Theatre (CTNWC) Sue Webster SAMs Books Sarah Weeks Plymouth Pavilions Katherine Wheeler North Devon Theatres Trust Sarah Wheeler Lyric Hammersmith Ian Whitaker Cairngorm Mountain Angus White Direct Distribution Eddie White Tolbooth Janice White The Cogency Kate White The Circus Space Katie Whitehurst Audiences London Ian Whiteside The University Of Salford

127 Arts Marketing Association Tailor Made: AMA Conference 2007

Kate Whitlock AMA Roy A Wilbur Philadelphia Cultural Management Initiative Claire Wilcock Perth Theatre & Concert Hall Cherry Williams Almeida Theatre Company Elwyn Williams Theatr Genedlaethol Cymru Heledd Williams Wales Millennium Centre Andrew Wilson Blink Ken Wilson Scottish Arts Council Marion Wilson Ambassador Theatre Group Sally Wilson Young Audiences Scotland Nina Winfield-Lowe Arts & Entertainment Kate Winsall National Maritime Museum Lucy Winstanley Middlesbrough Council Charlotte Winter Glasgow Grows Audiences Ltd Vanessa Winters The Courtyard Rosita Wolfe National Concert Hall Rebecca Wood Audiences Yorkshire Sandra Wood Audience Alliance Tim Wood The Place Paul Woods Tessitura Software Becky Wootton National Theatre Carl Wormald Live Nation Dina Wosner The Jewish Museum Hazel Wotherspoon Arts Development Angharad Wynne Angharad Wynne Marketing & Communications Esyllt Wyn-Owen English Touring Opera Nicola Young Dundee Repertory Theatre Pamela Zigomo Audiences Central

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