Reading Reflection

C H A P T E R 1 7

Audiences for Now; Audiences for the Future

ARTS MANAGERS FACE TWO MAJOR CHALLENGES TODAY. FIRST, THEY MUST REACH outward to their communities, with a goal of creating relevance, understand- ing, and accessibility and making art an integral part of people’s everyday lives. Second, managers must look inward to professionalize their management and marketing, to approach their tasks strategically in light of a continually chang- ing environment, and to learn how best to be responsive to the needs and inter- ests of their publics. Says marketing expert Mohanbir Sawhney, “It is not the biggest, the smartest, nor the richest organizations that survive; it’s the most adaptable.” 1

Also consider the wise perspective of Ivor Royston, M. D. Said Royston, “There are those who make things happen, there are those who watch things happen, and those who ask: What happened?” 2

Engaging Audiences for Now and for the Future

The concept of engaging audiences has been widely discussed in the arts industry in recent years. However, says marketer Doug Borwick, the lack of understand- ing of the term is so pervasive that the arts are in danger of losing the power that engagement represents in the fog of meanings that surround it.

Audience development , claims Borwick, consists of strategies and tactics designed for immediate results (sales, donations, etc.). In contrast, the word engagement implies relationship. Audience engagement is about deepening rela- tionships with current stakeholders and expanding reach over time. It may result in new modes or venues of presentation and means of explaining the arts to the public. Community engagement strategies are designed to create and maintain relationships with individuals and communities (many of whom may not be cur- rently affiliated with the organization). Community engagement is dependent

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on the establishment of trusting, mutually beneficial relationships over time; the arts and the community become equal partners. The desired end results are deepened relationships; expanded reach for the arts organization; and healthier, more vibrant communities. Robert Lynch, president and CEO of Americans for the Arts, says, “The challenge is not whether to build communities or audiences but how to build communities and audiences together.” 3

How do arts organizations work to better serve their communities? Rick Lester, the late founder of TRG Arts, said,

Improved audience engagement encompasses every decision an organiza- tion makes—especially those influencing what we put on stage. It takes bold leadership from the top, not a well-meaning marketing manager filled with energy and optimism—and often no political clout—to change the course of an institution. It seems to me that if organizations want a different culture (in the broadest sense of the word) to notice, embrace, and become engaged with your work—the faces on your stage must reflect the faces you hope to attract into the venue. The faces in your offices and boardroom must also reflect this community. Your theater, gallery, or con- cert hall must become a center for gathering and activity—for all of your community. 4

Arts organizations must become active, involved members of their communi- ties. They should have representatives on the local chamber of commerce par- ticipate in the Fourth of July parade and perform for patients in local hospitals. When a community event is being staged, such as the grand opening of a new store, or when a young public official is speaking before a crowd, performing artists and presenters can lend their expertise by helping to stage events and by coaching public speaking. In return, the artists and managers will benefit from gaining awareness, familiarity, and gratitude; which will translate into new audi- ences, new funders, and new sources of gifts-in-kind. Such exposure will weave the arts into the very fabric of the community. Such activities will create new opportunities for showing people how art is integral to our everyday lives, our experiences, and our feelings, which in turn will make the artistic experience compelling to a larger number of people.

Says consulting group Morris Hargreaves McIntyre,

For several years now, arts organizations have been exhorted to face up to the realities of a rapidly changing environment, with changing public expectations and changing public behavior; and to embrace new ways of engaging with their existing and potential audiences that are both interac- tive and personalized. If we want to move with the times and be relevant to the new generation of cultural consumers we must embrace personaliza- tion and we must invite a greater level of interactivity.

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Morris Hargreaves McIntyre defines interactivity as:

a two-way dialogue with customers and stakeholders that result in deeper engagement, the ultimate manifestation of which is co-creation. Interactivity is the consumer’s response to the organization’s artistic vision. And personalization is equipping the customer with the ability to tailor and personalize the service experience to their needs. Both are possible routes to a bigger goal: deeper engagement. 5

Most marketers think that the best way to hold on to customers and build their involvement is by interacting as much as possible with them. But not every patron will want to have a relationship with an arts organization, or such an involved one. Many patrons are happy to attend an organization’s performances once or twice a year, when the mood and programming strike them. According to Karen Freeman, Patrick Spenner, and Anna Bird, only 23 percent of consumers in their study of more than seven thousand con- sumers say they have a relationship with a brand, so the marketer must learn to identify the people who actually want to engage and market differently to them. Also, contrary to common belief, only 13 percent of respondents to their study cited frequent interactions as a reason for having a relationship. Of the consumers who say they have a relationship with an organization, 64 percent cited shared values as the reason. Instead of relentlessly demand- ing more consumer attention, arts managers should treat the attention they win as precious. Engagement is about quality of relationships, not quantity of interactions. 6

To build engagement, relevance and value are key, overriding concepts for marketers to focus on with all their plans, strategies, and tactics. There are three main components to the concept of value: the three Cs. Arts managers need to comprehend what value people are seeking, create value to meet those needs, and then communicate it effectively. 7 They must understand what people value and create value that breaks down barriers and builds enjoyment. This value must be communicated effectively; otherwise there is no value.

If organizations can communicate value more effectively, they can increase perceived value.

The English National Opera (ENO) has launched an initiative to attract younger audiences. “Come in shorts, armor, jeans, pumps, anything!” said artis- tic director John Berry. For this scheme, entitled “Undress for the Opera,” one hundred £ 25 tickets were made available for performances of four operas in the coming season: Don Giovanni , La Traviata , the world premiere of the 3-D film opera Sunken Garden , and Philip Glass’s The Perfect American . The tickets were for the best seats, and included a preperformance introduction to the evening’s opera, a downloadable synopsis, and the opportunity to meet the cast and cre- ative teams after the performance. Chief executive Loretta Tomasi also promised

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club-style bars, themed cocktails, and a relaxed atmosphere. “Lots of people are put off by the way opera is presented—they think it is too stuffy, too posh, too expensive. We want to change that perception,” said Berry. Thirty percent of ENO’s current audience is under 44; Berry’s aim is to increase that figure to at least 40 percent. The special tickets will be on sale one month before each performance. 8

Reflecting its town, which is both artsy and outdoorsy, for the 2013–2014 season, the Boulder Philharmonic’s theme is “Nature & Music: The Spirit of Boulder.” The goal of the season is to connect a wider segment of the com- munity to orchestral music inspired by nature through a series of unique part- nerships, including the City of Boulder Open Space & Mountain Park; the Geological Society of America (based in Boulder); the University of Colorado; local filmmakers, composers, and dance ensembles; and others. Says marketing consultant Holly Hickman,

This Nature & Music initiative is part of the orchestra’s mission and vision, which is focused on developing community-centric programming that reflects the unique qualities of the Boulder area. Subscriptions are up 70 percent since 2008; the number of single ticket buyers increased 10 percent in the 2012–2013 season; and the organization enjoyed three consecutive years of increasing donations (2010–2012). The Boulder Philharmonic is programming specifically to appeal to its community’s interests, and the community is responding to the organization’s increased relevance. 9

Marketing in a Dynamic Environment

Marketing is central to an organization’s functioning and well-being. Says Philip Kotler,

Marketing is about the marketing of meaning embedded in the organi- zation’s mission, vision, and values. By defining marketing in this way, the state of marketing is elevated into being a major player in designing the organization’s strategic future. Marketing should no longer be consid- ered as only selling and using tools to generate demand. Marketing should now be considered as the major hope of a company to restore consumer trust. 10

Every organization needs objectives and a clear and compelling strategy. Managers must ask themselves: Do we have a good plan? A feasible plan? Are the tactics aligned with our strategy? Did we spend enough money? Too much money? Do we have good controls in place?

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Sustainability

As the performing arts industry is straining under significant deficits, managers, consultants, researchers, and analysts have devoted much effort to determining the causes of the decline, hoping to identify solutions. Some experts predict a systems collapse, especially in the orchestra world. Extrapolating from the Yale research cited earlier in this book, we can conclude that if an orchestra performs in the top 10 percent of all orchestral fund-raising departments nationwide, it will only close about 45 percent of the growing cost gap each year moving forward.

As a result, there has been much talk about sustainability . But what is it that arts organizations are trying to sustain?

According to Alan Brown, Joseph Kluger, et al. of WolfBrown, sustainability requires a balancing act with three interdependent but sometimes competing priorities: community relevance , artistic vibrancy , and capitalization . Together, these elements give organizations the ability to excel in a permanent state of flux, uncertainty, and creative tension.

Community relevance , says WolfBrown, should be the first and foremost ele- ment of sustainability. Achieving relevance in the eyes of the community means that it is seen as a community asset rather than an isolated, self-interested non- profit. It means creating valued partnerships, not just outreach programs and reduced-price tickets.

Artistic vibrancy is the fuel of sustainability. Artistic vibrancy goes far beyond artistic excellence to include a willingness to experiment with programming through an inclusive and consultative program planning process and the smart use of technologies for engaging audiences and communities in the artistic work. New doorways should be opened before old ones are shut.

Capitalization serves to support the other two elements. There are three pur- poses for capital: liquidity (enough cash to meet operating needs), adaptability (funds that offer flexibility in adjusting to changing circumstances), and durabil- ity (funds to address the range of needs in future years). Good fiscal policy and capitalization are tools of sustainability; financial distress is a symptom, not a cause of the problems arts groups face. Organizations must take care not to lose their sense of vitality and purpose in trying to achieve financial sustainability, or durability will become an empty goal. 11

Healthy arts organizations require constant regeneration and renewal, which may be in conflict with institutional designs on permanence. Cultural leaders, therefore, have the responsibility of consolidating, reimagining, or phasing out programs that do not have sufficient public value. In that permanence, stabil- ity, and durability may be counterproductive ideals in today’s rapidly changing society, sustainability may take on the new meaning of a policy of creative inven- tion that is perpetually responsive to the communities in which the organization resides. Says conductor Harvey Felder, “Our challenge is the changing society in

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which we live. We can fight for the expectations and norms of the past, and in doing so continue to exclude people with different experiential needs. Or we can see the new and evolving expectations as ours.” 12

Some of these broad issues are outside the marketer’s realm, but what is within the marketer’s purview is a primary factor for sustaining the arts organization: the relationship with the audience. This is an enduring aspect of the organiza- tion that managers can influence through the ways they communicate with and treat their patrons at every touch point. Remember that, as Chad Bauman says,

We need new audiences more than they need us. . . . We have to make our organizations inviting, accessible and fun. And understand that providing a fun experience doesn’t equate to sacrificing artistic credibility. We don’t have to sacrifice the core of who we are to attract new audiences. . . . New audiences need to be cultivated carefully. Create a path for them. Give them an easy entry point. Provide an amazing experience. Steward them so they return soon after their first experience. Build their confidence with multiple experiences, and then provide an opportunity to sample some- thing a little more challenging. Introduce them to new experiences. At some point, if you don’t provide them with a challenge, they will grow bored. We are responsible for cultivating our audiences’ artistic growth. If we lack audiences for classical, challenging, or new work, perhaps it is because we try to short circuit the system, and ask that new audiences sample what they would at first perceive as vegetables before getting to the dessert. 13

Collaboration

The marketers’ tasks are becoming broader as our society evolves and changes. They must work closely with others within and outside of the organization, in addition to meeting or exceeding ticket sales goals.

Within the organization, it is crucial to integrate all functions so that the “whole customer” is served. For the customer, arts attendance, contributions, educational opportunities, and social events are all part of one total experience with the organization, and are not siloed in patrons’ minds and hearts as they are siloed by organizational function. The person who makes a donation is typically the person who is deeply moved by the performances and is committed to help the organization thrive. Wouldn’t it make sense if marketing and development would work together to realize the same goals, rather than having completely separate budgets and goals? In the climate of separation between departments, huge opportunities are potentially lost. The organization should create a collab- orative environment that rewards employees for interdepartmental initiatives.

Educating its patrons is a crucial function of the organization. Central to a love and appreciation of the arts is a deep understanding of the art forms

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themselves. A study of the effects of arts education on participation in the arts clearly indicated that the richer one’s arts education, the greater one’s participa- tion in the arts. Arts education was found to be the strongest predictor of arts creation and consumption, stronger even than socioeconomic status, race, eth- nicity, and gender. 14 Education is crucial for making art meaningful, important, and necessary.

Because the live performance experience is integral to the educational process, it may well be that arts organizations are the best-suited educational institutions for creating an appreciation and love for the arts and for building future audi- ences. For their current audiences, arts organizations can make their art more meaningful by providing rich information, music, photos, and video on their websites, and by provoking thought and discussion in their program notes, in special articles in their programs, and at pre- and postconcert discussions (and isn’t “discussions” a better word than “lectures”—isn’t anything a better word than “lectures”?). They can also offer a variety of enrichment programs in neigh- borhood venues.

By bringing their art to the people, arts organizations are not only enriching them and exposing them to what they offer, but also possibly encouraging peo- ple to come to their venues. For the next generations of arts attenders, more and more arts organizations have taken up the mantle of providing child-centered arts programming to expose, educate, and entertain kids, who hopefully will become appreciative and avid arts attenders later in life. Some organizations also offer young people their own opportunities to act, to sing, to dance, or to play music, under the leadership of seasoned professionals who inspire the children and give them new ways of thinking about the world.

Some Final Insights

Throughout this book I have presented some of the best practices currently in use. But what works well for one organization may not suit another organiza- tion’s situation. And because environments change and people’s needs, interests, and desires change over time, the best practices of today may be obsolete tomor- row. Therefore, it is crucial that arts managers and marketers fully understand and internalize the following universal and enduring principles that underlie each and every successful strategy.

Manage for the Mission

Managing for the mission means that an organization takes no decision or action that is not informed and inspired by its mission statement. The mission is the organization’s purpose or reason for being. Every mission statement reflects two things: the competencies and attainment levels sought by the organization, and its purposeful commitments to various stakeholders. Each member of the

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organization must understand, support, and be able to articulate that mission. 15 If an organization devotes a disproportionate amount of its resources to activities that do not support the mission, then the organization is supporting only the institution and not its reason for being.

Second only to its mission, an arts organization should focus on its core com- petencies. It is important to concentrate on only a few things, to do them well, and to communicate effectively what those strengths are.

Focus on Quality

The most important factor responsible for the success or failure of an artistic product is its quality. The product that has a quality advantage is destined to capture the minds and hearts of the marketplace. Cutting corners in a way that adversely affects artistic quality is a sure road to failure. Marketing strate- gies may attract customers, but if the experience itself is not highly satisfying, promotional techniques will not bring them back. Spending advertising and promotion dollars on behalf of an inferior product is counterproductive, if not futile.

Commit Resources to the Marketing Function

Marketing success requires a wholehearted commitment of funds, well-trained personnel, and trust in the marketing function itself. An arts organization can- not muster or maintain a strong audience base without full-fledged campaigns designed to attract, retain, engage, and educate patrons.

Says Michael Kaiser, CEO of the Kennedy Center in Washington, DC,

Troubled arts organizations invariably get themselves into a vicious spiral. They reduce spending on art and marketing, lessening the interest of audi- ences and patrons, thereby reducing box office revenue and private contri- butions. In response, they cut back further, receive less, and so on and so on. Most problems facing arts organizations have to do with inadequate flow of income, not spendthrift artistic directors.

Kaiser firmly believes the solution to these problems is to search relentlessly for new sources of revenue, not to cut costs. This does not mean that reducing expenditures is not important; money must be saved when the organization faces financial shortfalls. But savings should be made on staff costs and admin- istrative costs, not on artistic initiatives or marketing. The money Kaiser saves through cost-cutting efforts is devoted to creating vibrant artistic projects and to marketing these projects and the institution in exciting and contemporary ways. Concludes Kaiser, “Box office revenue and contributed funds result from good

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art, well marketed. Quite simply, effective marketing is an absolute prerequisite for consistent success in the arts.” 16

Know Your Customers

Customer insight—knowing as much as possible about the values, needs, and motivations of existing and potential customers—is the lifeblood of the organization.

Central to effective marketing is a commitment to marketing research. Market research is an investment the organization must make to develop, execute, and monitor intelligent marketing plans and thereby sustain and enlarge its audience. Sizeable arts organizations usually have the resources to employ sophisticated market research techniques to measure and describe their current and potential audiences. But even the smallest organizations with minimal resources can con- duct in-house surveys and focus groups, obtain grants for further research, and study published reports on audience characteristics and preferences.

The most successful arts organizations are those whose products and ser- vices are directed at separate, distinct, and reachable segments of the popula- tion and whose offerings are positioned from the customer’s viewpoint, not the organization’s.

Present Art That Attracts a Growing Audience

Says Eugene Carr, organizations will thrive if they make art that attracts a growing audience. If managers find ways to continually fill their house, their economic engine will grow. They’ll identify new donors, board members, and they’ll relate much better to prospective funders. Nothing breeds success like success. This does not mean that organizations must ignore their artistic mission; it means that they must be relevant to their communities. 17

Attracting Art Lovers to the New York City Ballet

The New York City Ballet (NYCB) is offering a new series of performances designed to attract art lovers to the ballet. The NYCB Art Series commissions contemporary artists to create original works of art inspired by the ballet’s unique energy, their spectacular dancers, and the repertory of dances. 18

For the 2014 winter season, the ballet commissioned works from French street artist J R, who is internationally known for mounting large-scale public photography projects around the world. For this project, J R created two installa- tions. The first one viewers see is outside the David H. Koch Theater at Lincoln Center where J R wheat-pasted enormous ballerinas’ legs and toes shoes.

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The second installation, which has created the most interest and excite- ment, is in the promenade of the Koch Theater, where J R covered the inlaid travertine marble floor with a 6,500-square-foot vinyl photograph of more than 80 City Ballet dancers, roughly life size, who are arranged on a sea of crumpled white paper.

From above, it becomes clear that the dancers form a gigantic eye, so many ticket holders in the orchestra section climbed to the Fourth Ring balcony during intermission to get a better view. Said one 24-year-old visitor, “It’s like nothing I’ve ever seen. This is specifically incorporating ballet—the beauty, the power, the vulnerability. It’s pure and beautiful.” Some patrons got down on the floor and posed for pictures themselves. One man posed looking as if he were lifting a ballerina; some women posed lying on the hands of supine dancers appearing as if being lifted; one young girl mimicked the splits and poses of the City Ballet dancers; another leapt over the dancers’ heads. Many such photos have been posted on Instagram.

In addition to commissioning the work, NYCB put on three special perfor- mances aimed at art fans new to ballet; every seat cost $29. Tickets were offered to the thousands of people who follow J R on social media, and ad campaigns were mounted at subway stations on the Lower East Side and in some Brooklyn neighborhoods. Standing room tickets were to be released on performance days as the seats were expected to sell out. The installation was also open to the pub- lic free of charge for several hours each day for several weeks.

At the 2013 installation, by the Brooklyn artist collective Faile, 70 per- cent of the people who went to the two special art-themed performances were new to City Ballet. About 7 percent of those first-timers came back to the ballet, which is an unusually high number. Said one patron, a 25-year- old film and theater producer, the Arts Series performances are “one of the hottest tickets in the city. Models, people from film, fashion, art—everyone was there.” 19

Create Accessibility

An important marketing task is creating access for the current or potential cus- tomer to the product. Remember that reality is what the consumer perceives it to be, that the solution is not in the product or in the marketer’s own mind, but inside the prospect’s mind. Success may well lie in the details: offering a performance at a convenient time, emphasizing casual attire, or surrounding the performance with familiar faces and comfortable settings. Modern technology allows organizations to bring alive the arts experience and to provide an abun- dance of information at little to no cost.

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Integrate the Arts into Everyday Lives

Many arts organizations have found effective ways to integrate their offerings into the lives of their publics. The New York Philharmonic invites families to integrate music into their weekend outings with its casual, inexpensive, one- hour, Saturday afternoon concerts. The American Symphony Orchestra ties in its musical themes with literature, politics, history, and other interests common to its audience members. The “home base” for Dancing in the Streets is wher- ever a target audience can be found.

In the fall of 2010, Heart of Los Angeles (HOLA) forged a partnership with the Los Angeles Philharmonic to bring a youth orchestra to the Rampart com- munity. Youth Orchestra Los Angeles (YOLA) at HOLA (YOLA at HOLA) is inspired by El Sistema, the Venezuelan music education system that nurtured Gustavo Dudamel, the Los Angeles Philharmonic’s music director. El Sistema uses music education to help young people from impoverished circumstances achieve their full potential and learn values that favor their growth. At its core, El Sistema is about togetherness, a place where children learn to listen to each other and to respect one another. The founder of El Sistema, Jose Antonio Abreu, states it simply: “Music has to be recognized as an . . . agent of social development in the highest sense, because it transmits the highest values—solidarity, har- mony, mutual compassion. And it has the ability to unite an entire community and to express sublime feelings.”

The impact of the program can be felt well beyond the orchestra room. In a community with limited resources, YOLA at HOLA has brought classical music into neighborhood centers and the homes of hundreds of families. When asked what they like most about the program, many of the students respond that they enjoy being a part of the orchestra and performing at such world-renowned venues as the Walt Disney Concert Hall and the Hollywood Bowl. Many dream of becoming professional musicians; one even has his sights set on becoming a conductor. But more often than not, students express their understanding that there is something much greater than just learning to play music. In the words of one student, “It’s not so much about being a great musician, but being an inspir- ing musician so I can improve my community with my music.” 20

Take the Long-Term View

Successful marketing requires a long-term view. Arts organizations commonly rec- ognize the need to attract young audiences. But educating children is costly, and targeting younger audiences is likely to imply smaller packages, lower ticket prices, and lower donation levels—in the short run. However, in the process of absorb- ing these costs, the organization is building a strong and broad foundation for its future—for a time when these people will have more leisure time and more discre- tionary income to pay higher ticket prices and make substantial contributions.

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View Changes as Opportunities—Not Threats

Embrace change. When it comes to the future, resistance is ultimately futile. Pay attention to societal trends. Gordon Sullivan and Michael Harper, authors of Hope Is Not a Method , say that “doing the same thing you have always done—no matter how much you improve it—will get you only what you had before.” 21

Arts managers need strategic agility. They need to do long-range strategic planning but be attuned to opportunities and develop adaptive responses and strategies. Says Steve McMillan, former CEO of Sara Lee Corporation, “The perfect offering or cost remains perfect for a fleeting instant. The only advantage that remains sustainable in the long term is innovation.” 22

As customers’ needs and preferences change, so must every organization’s marketing strategy. Each current and potential arts patron—including single ticket buyers—should be respected, listened to, appreciated, and then, when possible, nurtured into higher levels of commitment. If arts organizations do not respect and meet the public’s changing preferences and needs with respect to how the product is offered, there will be an ever-diminishing audience to share in the artistic experiment. So in the long run, such change can only serve to strengthen the organization, not to weaken it.

Revitalization of the Detroit Symphony Orchestra

The Detroit Symphony Orchestra (DSO) has come a long way since 2010, when it faced a deficit of $8.8 million and since its 6-month musician strike in 2011, which resulted in musicians’ salaries being cut by 23 percent, as reported in chapter 1 . After emerging from the strike, the orchestra faced an urgent need to replace lost support, repair interrupted concert-going habits, and send positive messages to a community benumbed by hardship appeals.

The orchestra developed a goal to become “the most accessible orchestra on the planet,” according to Scott Harrison, executive director of board engagement and strategy and executive producer of digital media. To real- ize the digital component of this goal, the DSO offered free, live transmis- sions of most of its concert programs, delivered worldwide to computers, mobile phones, and other web-enabled devices. These programs were ini- tiated with little in-house equipment or technical expertise, a staggering financial burden from previous years, and no precedent for determining risk to the subscriber base. Production costs were paid for by a John S. and James L. Knight Foundation grant and support from the Ford Motor Company Fund; Detroit Public Televison partnered with the DSO for cameras, production crew, and broadcast expertise; and the post-strike

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contract provided for streaming video without additional upfront musi- cians’ fees. 23

As of June 2012, the first full season of “Live From Orchestra Hall,” which included 22 live classical web broadcasts, garnered 120,000 views in more than 75 countries. The DSO’s YouTube channel, which offers clips and some complete works, garnered 68,000 views by March of that year. A year later, after two full seasons of webcasting, total audience exceeded 300,000 viewers, the Facebook audience had grown to 25,000 (compared to 4,500 in 2010), the Twitter audience was approaching 15,000 (compared to less than 3,000 in 2010), and lifetime YouTube views increased six-fold to more than 500,000. Importantly, classical ticket sales were up 22 percent compared with the last full season before the strike, showing that the streaming performances did not cannibalize attendance at the concerts. Anecdotally, many subscribers, 74 percent of whom are aware of “Live from Orchestra Hall” webcasts and 67 percent of whom have watched a webcast, report that they tune into web- casts to enjoy a second performance of a favorite program that they attended at Orchestra Hall. 24

Furthermore, although the webcasts are free, the DSO invites viewers to make a donation when tuning in. During the first full season, “Live from Orchestra Hall” viewers who made donations gave an average of $78—equiv- alent to three main floor “B” seats in Orchestra Hall. Gifts came from across the United States and from enthusiasts overseas. Partnerships with international distribution partners like Medici.tv and Paraclassics.com extended the DSO’s reach to new audiences that would otherwise have cost hundreds of thousands of dollars to reach through marketing efforts. Once the regular season is over, the summer “Encore” series begins, making the concerts available again at dso. org/live. 25 As of January 2014, plans were underway to launch an archive player to allow patrons and supporters 24/7 access to a library of past content.

In fiscal year 2013, the DSO achieved its first balanced budget since 2007. This success was bolstered by a 43 percent increase in fundraising (totaling $18.9 million), a 100 percent increase in the donor base over 2011, and the second consecutive year of subscription sales growth. 26 Also in fiscal year 2013, the Knight Foundation awarded the DSO $2.25 million to start an endownment to support digital operating costs into perpetuity. In addition to direct support for webcast efforts from institutional and individual sources, Harrison reports that a number of major donors list the webcasts and the DSO’s commitment to digital accessibility as one of the top reasons they have reaffirmed and increased their support of the orchestra in recent years. The webcasts have become central to the organization’s identity and are now viewed as a core activity driving artistic excellence by funders, board mem- bers, volunteers, musicians, managers, the community, and local and global audiences.

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Focus on the Art and the Audience

The focus of this book has been on the arts organization, for the organization brings the art to the public and the public to the art. Yet the organization is a closed system. It is controlled, systematized, and resistant to change. That resistance must be broken down. Arts organizations must continually change to retain their effectiveness. They must change their internal structures, their ways of doing business, sometimes even their missions. Above all, they must listen to their constituents.

Conductor and composer Pierre Boulez says, “It is a sign of weakness in a civ- ilization that it cannot destroy things.” Similarly, conductor and pianist Daniel Barenboim claims, “This mania for keeping everything shows a lack of courage, courage which is needed in order to use the experiences of the past as stepping stones to the vision of the future.” 27

However, it must be remembered that it is the art itself that has the power— the power to move the soul, lift the spirit, expand the mind. Art is an open sys- tem; it constantly creates, cajoles, undermines, confronts, challenges. And great art endures, transcending time and space.

If the essence of art is the relationship between the artist and the audience, the arts organization must be vigilant in pursuing both the artists’ and the audi- ences’ best interests. Artistic programs should be developed not with the purpose of keeping the institution alive, but of making it viable. In the end, as managers, marketers, board members, and others who work to sustain and develop our arts organizations, our accountability is to the artists and their publics—not to the organization. By attempting to alter public perceptions of our institutions, we only scratch the surface of the challenges we face and, at best, create short-term solutions. By educating our publics about the art we treasure, by being relevant to our communities, and by being sensitive to the continually changing behav- ior, interests, and needs of various audience segments, we can build enthusiastic and loyal audiences for the future. And by doing that, we can guarantee that art will thrive and prosper.

So many possibilities. Stephen Sondheim, Sunday in the Park with George