Tag Archives: Written by Inga Petri

Encourage or stifling Audience participation

I stumbled upon this worthwhile blog post musing by a mid-western orchestra musician – via Orchestra Canada’s Facebook presence. The discussion in the symphonic world continues unresolved.

For some time I have wondered about the desire for audience participation, audience loyalty, audience engagement that does not go beyond what an orchestra/ music director/ musician might want from that audience. That is that it appears as though the concepts of participation, engagement, loyalty are great as long as they are delivered on the orchestra’s terms rather than on a give a take between audience and orchestra.

I suspect that the habits, the deference, the stifling of the audience’s participation that classical music performance has earned a reputation for are difficult to sell to a savvy, media-enriched and fully empowered, performing arts attending audience of Gen Xers (the oldest Gen Xers are about 45 now). This is an independent generation; they create and engage but not in one-way sort of set up. They are sophisticated consumers as consumers; whether they know much about the classics is not what it’s about.

A line from a piece I wrote 5 years ago while assembling generational profiles to inform marketing decisions jumped out at me again: “Gen Xers tend to look to be entertained in a friendly atmosphere rather than simply accepting others authority and doing as they are told without understanding why.”

They know they can spend their 24 hours every day in ways they find highly rewarding and appealing without being told when to clap, when to be quiet, when to be in awe, when to engage. What will it take for classical music to break through its well-earned reputation that somehow places the service to the music above the service to the audience?

Studying the Value of Presenting in Canada

Spring often marks new beginnings. This May has proven momentous for Strategic Moves: I am now leading a two-year long, ambitious project to shed new light on Arts Presenting and Presenters in Canada. (Full news release.)

To do this major initiative justice, I have formed a bilingual, bicultural consulting team from Ontario and Quebec. And we have partnered with EKOS Research for the necessary quantitative surveys.

I had the chance to give a presentation and Q&A session at the national meeting of Regional Presenting Networks organized by the Canadian Arts Presenting Association (CAPACOA). This is the group we are doing this work for and with. This session was followed by a successful kick-off meeting with the national Advisory Committee on May 5.

Since then, I have been working on all the necessary start up activities from briefing the rest of the team and getting the work underway to researching solutions for a collaborative online space dedicated to this project to building the project schedule for the first year of research and consulting activities.

Canada’s performing arts scene boasts some of the world’s most celebrated musicians, dancers, actors and performers. Yet, the purpose and the work of arts presenters in building Canada’s cultural fabric, preparing the stage for diverse artistic expression and developing engaged audiences are little known or understood. In a rapidly evolving world, arts presenters seek to affirm their role in the creative chain coherently and with purpose.

During the next two years together with the presenting field across Canada and related sectors we will:

identify, understand and communicate the value and benefits of presenting for Canadians
envision the presenters’ evolving role in our changing world
raise awareness of the role of the live performing arts presenter in the creative chain, in communities and in society.

I am excited to work with CAPACOA, the advisory committee and the many outstanding people that work in the arts and in the presenting field in particular.

Storytellers of Canada Yellowknife conference

Last year, I worked with SC-CC, a national arts service organization, to develop an external communications strategy. This year, I was invited as part of efforts to build capacity and skill to lead a full-day communications workshop at the association’s annual conference in Yellowknife.

It’s been fascinating to design this custom workshop. Storytellers by definition are communicators. And yet, when turning the attention to communications activities for the purpose of marketing, raising awareness and selling tickets it becomes apparent that there is quite a different skill set at work.

I have been reviewing the workshop design and content with a storyteller who has considerable marketing and communications skills gained through various jobs and initiatives. Together, I think we make a good team to bring valuable insights, information and experience to this workshop on the 26th of May. An added bonus, I get to go to Yellowknife for a few days and experience part of Canada’s North for the first time.

Enriqueta Ulloa – Bolivian superstar delivers awesome performance

While in La Paz, Bolivia last November, we were invited to a concert by Enriqueta Ulloa. We had never heard of her, as her fame hasn’t traveled north. We quickly learned, that she is a superstar: whenever we mentioned having been to this concert, Bolivians were so excited and started talking about her music, inspired by the traditional sounds and songs of the regions of Bolivia, as truly important and an important ambassador for Bolivian culture – and they were amazed that we even knew to go.

Two posters in contrast. She’s so famous her image is all the
advertising needed.

That night she was celebrating 35 years on stage with back-to-back concerts! I’ve never seen a crowd so into every moment of a performance. Handkerchiefs twirling, clapping in the right rhythms and singing every song. The energy was incredibly joyous, the connection between artist and audience immediate, the love mutual. We were quickly swept up in this awesome vibe. This evening left me with one of the most powerful performing arts experiences I’ve had.

The performance included several numbers featuring traditional dance, some highlighting the band and others featuring the singer and of course costume changes and a selection of photos and videos from her long career (with the most awkward production set up but it just didn’t matter – these were iconic images to many in the audience). As for the crowd: there were old people and children, there were powerful people and regular folks, there were men and women, there were city people and country people, those descended from Spanish blood and indigenous people – and there was one shared, joyous, Bolivian experience. An amazing moment in a country that feels so much in transition.

We were almost shocked at the cost of tickets: 30 Bolivianos each ($4.50) for 2nd row seats! By North American standards that’s incredible – less so by Bolivian standards but still a relatively easy ticket to buy.

Scene before the doors opened.
The house was sold out and the
excitement obvious.

The Municipal Theatre in La Paz dates to 1845; old,
beautiful, great vibe.

Here are a couple of Youtube videos for diversion and enjoyment.

Do you pay someone so you can buy from them?

Click to enlarge view.

I just bought some tickets to a Melissa Etheridge concert. It should be great – we are excited about seeing here live again.

Because the online ticket seller adds fees like a “convenience fee” – basically a charge for the privilege of buying the tickets – I went to the box office in person.

For me all the “convenience” of buying online disappears when it adds $20 to the ticket price. And that’s not all. If I were to buy them online I’d have to choose the delivery method: If I want to be sure to get them delivered, it’s another $14.

Sure, I can pick them up at the venue or I can get them by regular mail (i.e. no guaranteed delivery) without additional charge. But here the “convenience” of buying online falls apart: I still need to leave my house and walk into a physical venue. Today, there should be a free option to download and print the e-ticket, just like with airlines, and some other ticket sellers.

My actual purchase cost me $197.00. Buying it online would have cost $231.00
(Well, arguably only $217 if I pick them up in person; so I went to buy them and pick them up in person at the same time and leave $20 – or $34 depending how you look at it – in my pocket for another performance.)

Nonetheless, this made me ponder other industries where the customer has to first pay for the pleasure of buying something. I’ve come up with:

Credit cards – even though everyone has a “no fees” option these days, cards with fees are also still very common.
CostCo membership – the annual membership fee gives customers access to amazingly low prices on all kinds of goods.
Investing in mutual funds. The transaction fees are usually well hidden – OK, there’s a total lack of transparency. And there is a thing called MERs and they do cost you, also quite hidden from view.

Consumers pushed the credit card industry to include no-fee-cards in their portfolios. Given that many credit cards continue to charge around 20% interest on any balance, you’d think that’s plenty to profit from.

CostCo on the other hand appears to have found a working formula where the value proposition works really well. The fee represents a fair exchange, and might well keep CostCo in business. The whole business model is fascinating and it has made CostCo one of the largest retailers in the world.

As for mutual fund transaction fees, front-loads, no-loads and MERs – my feeling is transparency should be a given in all financial transactions – and I am amazed this has not been assured as yet.

Where else do you pay in order to make a purchase? And what’s the experience like? Does it alienate or bring you closer to the company?

What are they thinking at BlackBerry?

Just last week I used the Canadian edition of the BlackBerry website. It gave me all the information I needed quickly and efficiently in a pleasing, professional interface and I was happy.

This evening I went to the site and saw this as the homepage: a rather static screen trying hard – and failing in my books – at a lifestyle branding for BlackBerry.

Today BlackBerry is the leader in the smartphone market, but it’s obvious that the Android platform and iPhone are growing faster than BlackBerry. To protect their position and keep growing they have to do something.

But static and boring web interface? All I get to do is go left to right or right to left and click on user types like “The Shy Girl” or “The Power Couple” to see what BlackBerry device they should be using.

Apparently if you are The Shy Girl you use the BlackBerry Pearl. I wonder how all the BlackBerry Pearl users out there feel about that. “Hey, you have a BB Pearl, you must be the shy girl who texts a lot.” I mean how does that help someone gain status in their social circle? I was looking at getting the BlackBerry Torch, except now I am told that I am apparently broadcasting that I am part of The Power Couple! The truly powerful usually have little need to broadcast such things, they simply are and they act, so where does that leave me?

What are they thinking at BlackBerry? What’s the insight at work here?
Have they heard of video and all the really cool things they could do by integrating video into their site – or better yet, why not just keep it clean and professional until you have a great lifestyle brand idea that you can make work online? So many ways to advance a lifestyle brand, so much to learn!

NB: We just saw anther number 1, Nokia, do something about the threats to their leadership position: announcing a strategic partnership with Microsoft, for better or worse. Hope they will open up that platform widely so they can garner the creativity and imaginations of apps developers everywhere.

Logo evolutions

I enjoyed this brief, visual survey of global brand logos. It’s fun to see both what has changed radically and what has merely evolved, sometimes subtly, over the decades. The biggest changes in logo design in these examples are driven by shifts in the business or in its context. In that sense branding cuts both ways: brand designs do lead and they do follow trends.

Corporate brands are much more than the corporate name, even as wordmarks remain crucial for many brands and are likely more important the more local a business is. In any case, you will see several logos in that list that have become powerful enough to omit their company names entirely. Few do so because the image is the name, as is the case for Apple or Shell. With others you might wonder about the thinking or the research that led that decision.