Artists L-R: Scenic Route to Alaska, Fast Moving Mountains, 100 Mile House, Michael Bernard Fitzgerald
In the performing arts world of community-based presenters, there is often talk about “how to get younger audience members?” I took part in a discussion about this at Alberta Showcase in Edmonton, Alberta.
How to market younger or what are deemed more “edgy” artists in a community concert series was the question being asked after the performances by four artists/groups that were selected by Alberta Showcase’s “Street Team.” They were 100 Mile House, Michael Bernard Fitzgerald, Fast Moving Mountains and Scenic Route to Alaska.
The discussion was between community presenters from around Alberta and the four members of the Street Team who chose these four artists to present a showcase.
If you are a community performing arts presenter you may find some of these pointers helpful should you be considering presenting younger artists or artists that you are concerned may alienate your core—older—audience members.
- You have to get local young champions to sell the show. Having a middle-aged plus person trying to sell to a 20-something crowd simply isn’t going to work. The target group buys from their own cohort and on the recommendation of their friends. A friend will go to something simply based on a recommendation even if they don’t know anything about the artist in question.
- Use social media. Make sure your young champion(s) are using social media. Ideal channels are Twitter and Facebook. This can also be a way of bringing in the artists to the conversation as well because more than likely, they too are using social media. It’s a conversation, not “one-way.”
- Online, online, online. That’s where the audience for these performances live. They use links to artists sites, myspace, YouTube videos etc. Make sure you have lots of connections through to the artist(s) you are presenting.
- Ticket prices should be capped at about $20 but you should also consider “pay what you can” or “two-for-one” offers. This is scary to a presenter. In addition, ticket sales will be last minute at the event so you need courage to wait until performance time.
- Market this show somewhat outside of your regular series so it’s clear to your regular patrons that it’s a show they can attend but that it is clearly geared to a different group. Depending on how “edgy” it is, it could be a “come at your own risk” situation.
- The venue could be set up differently. Tables and a more open area could be really good. People like to socialize.
- Provide alcohol at the event!
- Encourage the use of social media at the event itself. It’s OK! Maybe provide WiFi in the venue.
- Try setting the show time a little later than your usual time. This will discourage some regular members from coming and send a message that this is “different.”
- You may just annoy some of your regulars—older—audience, but you also may start to build a new audience.
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Thanks a lot, John, for having taken the time to summarize this discussion. These are all excellent points.
To these pointers, I’d like to add a few things I observed recently:
- Salle André-Mathieu (Laval, QC) won several awards for their “Scène 1425″ program. It’s a series not only targeted to youth but also programmed by a young fellow and his peers. Another key element in their success is the use of alternative venues: shows are almost always presented outside of Salle André-Mathieu. For more information on Scène 1425, read this case study: http://www.maitrediffuseur.ca/ressource/129/pratique_exemplaire_scene_1425.html (in French only).
- The Ontario Arts Council recently released an extremely relevant study on Arts Engagement. This study, conducted by Alan Brown concurred with many points your raised above: young Canadians have a different sense of “place” that differs from the traditional sense of “venue” and they want to actively engage in the arts. They are calling for a shift from “attendance” to “engagement”. This study can be found at http://www.arts.on.ca/Page4400.aspx.
After all, may be the challenge is no longer in “drawing young audiences”, but in “giving youth a genuine opportunity to engage”.
Frédéric, thank you so much for the comment and the links to the two sites. I think you hit the nail on the head about giving youth a genuine opportunity to engage. It’s too easy to just think everyone (the whole demographic range) will all mingle together in the traditional setting and love what is presented.
I find a similar thing can be said about “diverse” audiences and how we try to develop for them. They too, need genuine opportunities to engage and it’s likely that it won’t be in the traditional way.
Nice summary, John…that applies to a lot of inter-generational marketing. I especially like #7!
Thanks for sharing that summary, John. I was pleased to meet you at the Alberta Showcase along with so many western and community-based presenters for the Value of Presenting work (http://www.valueofpresenting.ca).
I thought I highlight a point that’s implicit in the above tips: The discussion made clear that relationship building – with the organization, venue, art form and artists – is where much of this work to find and keep “younger audiences” needs to focus; both an opportunity and challenge. It’s not enough to use social platforms; key to success is how they are used.
During the session one presenter shared their experience using social media not to “sell tickets” to specific shows but to instead treat it as a way to build connections, foster relationships with audiences, and promote not only their own events but events in other venues in the area. They share news about artists, congratulating them on awards, reviews, and so on. They recognize others in their community. Doing so has instilled a level of trust among interested people that otherwise would be lost to the constant “sell.” This presenter also described how they establish clear expectations of when the people behind the Twitter feed will respond, so that their followers know when they can expect dialogue. They also worked to establish a “voice” for the venue that is consistent and recognizable. Voice was described as a key element of the brand and the relationship and trust it engenders. Finally, they described their followers as being in the 35 to 50 age group, rather than kids. With this collaborative and open approach, this presenter has been building a community that is based on mutuality rather than the hard sell; and as a result it is generating buzz, sales and creating closer relationships with audiences and the community.
This and more is part of our session summary available here: http://www.diffusionartspresenting.ca/2011/11/02/alberta-showcase-dialogue-summary/
On another note: In my view, there is no intrinsic barrier in terms of age of the presenter wanting to reach any demographic; there may be well barriers to be overcome relating to faulty perceptions, lack of trust, connection or relevance and more. (But think, Steve Jobs greatest successes came in the last 10 years.) No doubt point 1 has as all kinds of utility, but influence can come from any corner and anyone, including plugged in presenters of any generation.
Inga, what a well considered reply and comments to this. I expect you’re finding some really valuable information in these sessions that you’re doing across the country.
I think “trust” is the best result of an ongoing dialogue with presenter, artist and audience. The example you gave from one of the sessions seemed to really speak to this. It seems to me, not enough presenters spend the time on this but the ones who do, benefit greatly. My own little way of thinking about this is what I call the “sweet spot” and it’s where all three parties (artist, audience and presenter) mingle together. I did a little post on it here: http://fullbleedartsmarketing.com/a-sweet-spot-opportunity-for-audience-development
I do believe you are right about the generational barrier that doesn’t have to be there. Still, it’s hard for many small volunteer presenters to convey their “with it” persona and faking it sure doesn’t work. It seems to me, generational biases are hard things to break. Being 20 years old and looking at someone who is 50 with white, thinning hair is a message. The 50 year-old has to really prove that they are able to communicate. It’s hard work and not always successful which is really sad. Still, worth all the effort.
Now, I’ll head off to read your links. Thanks for sharing them.
Many thanks John. We have had some really great feedback on this lively discussion. The Street Team were kept busy all weekend at Showcase fielding questions by presenters with a growing interest in engaging younger community members. We are currently looking at a Library Showcase for pre-schoolers – get them young and train them!
Thanks for the summary.
B
Brenda, it was a really good discussion and I’m pleased there was such good activity about the showcases. I really thought they were great and it was wonderful seeing presenters interested in doing something different, if challenging.