Nurturing the Big Conversation Digitally Using Culture Segments

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Vodafone offers 4G LTE coverage in Auckland, Arrowtown, Christchurch, Gisborne, Hamilton, New Plymouth, Palmerston North, Queenstown, Taupo, Tauranga, Wanaka and Wellington on the 1800 MHz frequency, and is available to all compaNble devices.

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Here’s some data on the number of users of the top social media sites in the world in November 2013 You Tube is the most popular site in NZ, closely followed by Facebook. Over half the NZ populaNon are using these sites. We can also see nearly 1 in 5 are accessing blogging sites like Wordpress or Tumblr.

It’s also interesNng her to compare results with Australia –we can see Pinterest, Flickr and YouTube are all more popular over here.

This data shows the top 10 SM sites globally, as published in Adcorp data Source: Adcorp

h[p://www.adcorp.co.nz/news-‐blog/Social-‐Media-‐StaNsNcs-‐October-‐2013,-‐Australia-‐an

YouTube the most popular site in NZ: the user numbers show that 56% of the populaNon use this site, closely followed by Facebook at 53%.. Globally (and in Oz) Facebook dominates.

Wordpress is also popular here -‐ the largest self-‐hosted blogging tool in the world, used by 19% of the populaNon, and Tumblr – a similar concept to Wordpress but more of a social network site as well as blog host used by 17% of the populaNon.

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Perhaps what’s even more useful is to look at where the growth is – how usage of these sites has changed over Nme.

Growth parNcularly strong with Instagram and Pinterest – both highly visual pladorms – although only around 6% -‐ 7% of the NZ populaNon are using these sites it’s on the up. Reflects a trend in social media users placing increasing importance in visual content – borne out in moves like Twi[er releasing an update that previewed images within the newsfeed and the rise of apps like Snapchat. Whereas other sites might have started to reach saturaNon point – Facebook actually saw the lowest rate of growth at 5% -‐ saturaNon point?

2 websites actually saw a decrease: Twi[er down by 5% and Flickr by 10%

Note that data for Google + is not available (contenNous usage stats?) All data sources are included in the data release on Adcorp site.

The average pres+ge Instagram community is 100,000+ and registers engagement (the percentage of the community that responds by liking, commen+ng, or sharing the photo) 18 +mes that of Facebook and 48 +mes that of TwiBer: L2ThinkTank

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There have definitely been some global trends which have seen shifts in the social media landscape There’s been an emergence of niche networks which have started chipping away at mainstream networks. Especially teens – the early adopters of social media – who are starting to abandon Facebook in favour of sites like Snapchat, Instagram and WhatsApp Social media commentators talk about people ‘drowning in noise’ – it’s increasingly difficult for people to locate things of interest on platforms like Twitter and Facebook. Instead people are turning to Interest-based networks – groups of people (relative strangers) with shared interests

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Here are a couple of examples of these interest based networks

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L2 Think Tank did a 2013 survey of 247 global brands (from fashion through to hotels), assessing their social media acNvity and found that the typical presNge brand is present on no less than seven different pladorms. Swarovski tops the list with an impressive presence on 15 different pladorms!

I’m now going to quickly show you some data that explores how these trends translate into digital engagent for cultural organisaNons. The next few slides present recent data from a naNonal Museum in London – one of the most visited venues in the UK (and the world)

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We can see there was a significant rise in traffic to the website this year. Our in-venue surveys recorded that 39% of visits were informed by the venue’s website, up from 25% the previous year. Google Analytics data also showed that web traffic was up by 47%. Linked to the Museum hosting a ‘blockbuster’ exhibition where pre-booking was often essential. For the first time more people were buying tickets online than offline Dwell time and page views were, however, down, suggesting better pathways within the site Online booking for exhibitions

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Here we can see the devices used for accessing the site is broadening – it’s increasingly important that they have mobile-‐enabled content

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It wasn’t just an increase in visitors using the webiste – other digital sources increased in prominence, there were staistically significant increases in the proportions of visits informed by other digital content including social media (informing 5% of visits compared to 1% previously) and e-newsletters (5% compared to 2% the previous year)

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The official Facebook page was the most freuqently-mentioned social media site

This next slide shows pooled data across around 15 museums and galleries that we work with in London. It shows a year-‐on-‐year increase in the number of visits informed by guidebooks and a sharp increase in visits informed by venue’s websites.

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This trend is parNcularly pronounced with overseas audiences

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Venues are clearly investing more in generating increased web presence. Klout is just one of a number of ways of measuring the effectiveness of an organisation’s social media activity. It’s a score out of 100 which attempts to measure social influence, factoring in reach, amplification and size of networks. This table presents Klout scores from ten international museums and galleries, with the score from September 2011 alongside their scores in May 2014. The British Museum has seen the steepest increase in Klout score over this period, rising by 29 points to reach second position, just below the Museum of Modern Art in New York.

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This is some data fro some recent research we’ve done with Arts Victoria in Australia – it was Audience Atlas, which is a population study of the culture market. The culture market is defined as anything from contemporary dance through to the cinema and those in the market have to have engaged at least once within the past 3 years. 94% of the population in Victoria in the market for culture. These %s represent the % of this 94% who have engaged across different artforms in the past 3 years. We won’t dwell on the detail in the next few slides but there are some interesting patterns to draw your attention to.

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Majority have used a smartphone, laptop and desktop in past week Not huge amount of difference across markets, but there are some patterns

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Those in the festivals market (this is all festivals but not music festivals e.g. literature, film etc) are the most technologically engaged Ballet market is close behind – both these markets are the least likely to have a desktop computer

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The museums, art galleries and classical music markets tend to be slightly less likely to have used mobile devices regularly

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Again a relatively similar distribution across different markets, but the same overarching patterns emerge,

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Again festivals are the most engaged – particularly with those more niche or emerging platforms like Instagram and Twitter Classical music market pops up with possibly more traditional / more text based platforms with Google+ and Linkedin

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Museums are often the least engaged with specific platforms, art galleries and classical music markets also pop up as less active

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Here are six ways people might engage with cultural organisations. Mentions on Facebook are the most popular across the different markets, followed by reading online reviews

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Here we can see that, reflecting their higher engagement with content rich social media sites, the Festivals market are the most likely to upload picture / video or use Facebook. Interestingly the classical music market seem to also be highly engaged but in a different way – their behaviour suggests they want to make the most out of their cultural engagements, often virtually visiting or seeking supporting information, checking out reviews ahead of their trip and contributing their own review. NB this isn’t necessarily in relation to seeing classical music – it could be any cultural activity

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And, perhaps unsurprisingly, it’s the museums and art galleries markets which are generally less likely to engage in these ways – this is particularly pronounced with the museums market

It’s a move away from the one-size-fits-all approach – it’s about grouping people based on shared needs so that you can tailor your approach

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Segmentation system is about more than grouping people for different communications

It’s about using real understanding to inform practical decisions Market segments need to be…

1.  Measurable segments need to be quantified

2.  Mutually exclusive segments need to be differentiated and distinguishable

3.  Accessible and actionable they need to be reached through communication media

4.  Of large enough size to promise a worthwhile return on investment

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In terms of how we might group people up We need to understand what they are seeking to get out of the experience If we are to influence future behaviour

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If you know what need they are looking to fulfill – what they seek to get out of engaging with artistic experiences – you will know which combination of messages and products and services is going to be most effective and deliver that.

Psychographics – a more sophisNcated and stable way of considering the audience

Based on data from a study which took place in 2010 Evidence shows that there’s breadth but not depth – having done Audience Atlas across several different countries internaNonally. There’s a small core of highly engaged but relaNvely high proporNon of lapsed / infrequent a[enders CNZ has adopted CS as the naNonal audience segmentaNon system for NZ arts and culture – not only do we have a lot of detailed data for the whole country we have a lot of data at regional, venue and organisaNon level. This data will be updated roughly every 3 years. MulNvariate cluster analysis We idenNfied 8 segments from the data

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They are named to reflect what they get / could get from engaging with the arts Culture segments – whole of market place segmentaNon – 2010 Previous segmentaNon systems were fantasNc at helping clients understand their current audiences – but some were limited at finding new audiences in the wider market place Designed to be integrated with media planning tools (e.g. Target Group Index – omnibus, longitudinal survey about people’s media habits) – we can now find these segments in the wider market place (rather than just quanNfying them once they’ve actually visited).

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Diffusion of innovaNon AffirmaNon: Self-‐idenNty, aspiraNonal, quality Nme, improvement – WHOLESOME LEISURE Release: Busy, ambiNons, prioriNsing, wisdul – risk-‐averse as their Nme is limited, need guarantees Entertainment: Consumers, popularist, leisure, mainstream. CELEBRITY. BIG BRAND. SOCIAL NEEDS ARE KEY – WEST END Enrichment: mature, tradiNonal, heritage, nostalgia – wary of markeNng, like to make their own decisions PerspecNve: se[led, self-‐sufficient, focused, contented – hard to influence as they’re so inner-‐directed

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When we looked at this data by segment, we saw that Essence, Expression, SNmulaNon and AffirmaNon were the segments most likely to do so – they were over-‐represented within this market But what about when we introduce the idea of a contemporary art exhibiNon?

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Here we can see that SNmulaNon, Essence and Expression are more likely to be in the market for contemporary art exhibiNons, whilst the remaining segments are more likely to be in the market for non-‐contemporary exhibiNons. So we had a strong idea about which segments to target. When we look at paid-‐for London exhibiNons there are 4 key markets, when we throw in contemporary there are 3 key markets. But we obviously wanted to test this theory specifically for this exhibiNon

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Once the exhibiNon had become more ‘adopted’ and mainstream it allowed the markeNng team to target other segments

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SNmulaNon – idea of new, be the first!

Essence – strong sense of curatorship

Expression – GP downplayed, focus is on celebraNng the work of others, the unknown crasspeople across the centuries

They want other people to realise that they have got their finger on the pulse

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The winning stuntbears will rise to the challenge of represenNng Alan Measles on the back of Grayson Perry’s motorbike.

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Bar Silent disco Fashion show Very much pitched at a young, contemporary, connected audience

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Tools to allow them access to GP direct – unfiltered, informaNve, not obviously markeNng

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Directly from the senior curator

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Example of played down markeNng

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Involvement from hundreds of cras enthusiasts and arts insNtuNons ‘BriNsh Museum’ and ‘cras debate’ became a twi[er trending topic in the UK Over 1,450 tweets – esNmated reach of about 50k

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Our 3 core segments were the most prominent during the first half of the exhibiNon, together making 7 in 10 visits

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AffirmaNon and Release sit in the early majority group

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Great language – completely talking to their Facebook community: have a ‘squiz’ at what this mofo has to say about this killer show

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Here’s another example – young language – we’re going to miss your wicked cool provocaNve posters

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Here’s an equally brilliant but contrasNng example from the Royal New Zealand Ballet Giving their Facebook fans direct access to the ArNsNc Director – playing on a desire for intellectual engagement with their online community

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Actually getng feedback to their markeNng campaign through facebook

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Survey was on the venue’s website in March 2014. It was a pop up survey, with respondents asked to give feedback aser their visit. Looked at data before and Sample sizes for PerspecNve and Entertainment too small to comment on

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A quick crib sheet from a recent study we’ve conducted into London’s West End market – to rebalance some of the content which we’ve already covered which has mainly had a museums / galleries focus.

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Audience growth: helps to idenNfy speed at which you’re a[aining new fans – idenNfy what the successful ingredients are and apply elsewhere

Consistency is key – not comparing apples with pears

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Audience growth: helps to idenNfy speed at which you’re a[aining new fans – idenNfy what the successful ingredients are and apply elsewhere

Nurturing the Big Conversation Digitally Using Culture Segments

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