Social media for the arts

Social media strategy for arts organisationsHow powerful social media tools can both create and destroy value

Dos and Don’ts from the commercial world

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A brief introduction

®The Engagement Marketers®

IT4ArtsOur Expertise

Brandmovers are a Digital Engagement Company, think of it as Digital Marketing with a CRM focus. Each customer touch point in the Purchase Life Cycle is important, we work with our clients to build engaging campaigns to capture and influence customers online.

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IT4Arts360 Digital Solutions

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Our flexible, customised and bespoke digital marketing solutions are seamlessly integrated into our clients’ current Advertising , Marketing, and Communication Plans to deliver measurable results.

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Social media: Where are we?


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Ref HuffPo’s 100 Fascinating Social Media Statistics 2012 http://istrategylabs.com/2012/12/infographic-huffpos-100-fascinating-social-media-statistics-2012/

http://istrategylabs.com/2012/12/infographic-huffpos-100-fascinating-social-media-statistics-2012/



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Social media: For the arts


IT4ArtsPlatforms arts organisations use

Ref PC Mag (US) Social Media Helps Boost the Arts, But at What Cost? / Pew survey http://www.pcmag.com/article2/0,2817,2413832,00.asp

http://www.pcmag.com/article2/0,2817,2413832,00.asp




IT4ArtsPerceived SM impact on arts orgs

Ref PC Mag (US) Social Media Helps Boost the Arts, But at What Cost? / Pew survey http://www.pcmag.com/article2/0,2817,2413832,00.asp




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How not to do it


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February 2011, Kenneth Cole causes uproar and births a timeless DON’T case study by seeking to hijack the trending #Cairo hashtag.

Taking a tacky shortcut


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October 2012, an insensitive tweet is posted from the official KitchenAid account. Later blamed on a member of the team mistakenly posting through the brand account rather than their personal one.

Forgetting “you” are a brand


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In 2012, two Michelin starred Claude Bosi reacted badly to perceived criticism about the starter from a food blogger.

“Bosigate” spread rapidly with chefs, bloggers, critics and foodies taking sides.

Taking it personally


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In 2010 Nestle repsonded to a Greenpeace video on YouTube by lobbying for it’s removal.

Greenpeace responded by asking fans to change their profile pics to anti nestle slogans, Nestle threatening to delete comments from anyone doing so.

Strong arming your public


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June 2012, Femfresh gets the wrong tone in a campaign not suited to social, drawing complaints of body shaming & infantilising the female genitalia.

The backlash lost several hundred fans and generated 100s of complaints on the page, which was later geolocation restricted and locked down to no comments.

Misjudging your public


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BP’s practice of using its official account for PR broadcast only and not interacting with consumers backfired when a parody account started tweeting shortly after the Gulf of Mexico disaster.

It got 170,000 followers (the official account had 14,000), many of whom thought it was the official account.

Failing to respond


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May 2011, an independent jewellery designer complains that Urban Outfitters have ripped off her idea.

The story gathers social momentum; bloggers and celebrities lend support; brand image and sales suffer.

Ignoring it till it goes away

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How to do it


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Social may be a young medium, but do not assume that all users are young or that it is best left in the hands of an untrained junior.

Understand the medium

Chef Glynn Purnell: http://www.bighospitality.co.uk/Trends-Reports/Tweeting-Hospitality-Top-5-Twitter-Do-s-and-Don-t-s

Who should manage the Twitter account of a company?An ultimatetwitterstudy.com survey suggests “that this person has a quick access to information and needs to have enough impact on issues. It should be someone with enough influence to be listened to when he tells management what he learns and the ability to fix problems…And, maybe even more important, the tweeter should be a digital native who speaks Twitter-language.

Voila, there you have it! The person who should be managing your companies Twitter account is someone who (1) has enough influence to be listened to and (2) who speaks the Twitter-language.”

Protect your reputation, consider how things can be interpreted or even misinterpreted.

Fred Sirieix: http://www.bighospitality.co.uk/Trends-Reports/Tweeting-Hospitality-Top-5-Twitter-Do-s-and-Don-t-s

http://www.bighospitality.co.uk/Trends-Reports/Tweeting-Hospitality-Top-5-Twitter-Do-s-and-Don-t-s







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December 2012, Taco Bell shows why it has a reputation as one of the sassiest brands on social media by engaging and encouraging Facebook fans to become advocates.

The 1,386 likes and 8 comments on the original post and the subsequent 295 likes on the reply are likely to create in excess of 50,000 positive social impressions. Good value earned media, and excellent PR.

Develop brand advocates


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Last year Oreo sparked an online and media frenzy with a bold & potentially divisive stance in support of the gay community.

Fans took to both sides, with the image generating 260k likes, 48k comments and 82k shares.

Fan growth was doubled from 25k to 50k per day, comments by 495% and shares 4929%.

Have something to say


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US Open sponsor Evian used Instagram to engage users through an outreach campaign offering influential users the chance to go behind the scenes at the Open.

The #EvianDay “iPhotographers” toured the famous venue, taking pictures and each selected one photo to be displayed on the Jumbotron during matches.

The brand refreshed its sponsorship, and the content spread worldwide.

Be inclusive


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When O2’s network went down, customers took to Twitter in their droves to complain angrily.

Not only did O2 provide ongoing updates, they responded to every tweet (including mine) and with disarming good humour.

Have some personality


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O2 again, this time creating an instant viral by engaging a customer on his own terms.

Celebrities joined the fun, with Professor Green amongst those retweeting the exchange.

Speak to your customers


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User generated content is invaluable. Its reach is not limited by marketing plans, work patterns or manpower. The social consumer likes to have an opinion and likes to be seen.

From checking into a location, to Instagramming an installation or merely tweeting feelings about something just seen, this should all be encouraged.

Publicise hashtags and social profiles on location; be visible on geolocation networks; and if possible provide Wi-fi so users can engage on the spot.

Facilitate organic conversation


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Augmenting the visitor experience can add significant value and increase accessibility. Social media can provide a more engaging alternative to the audio tour or program, with the ability to generate reach with one click.

Interactive cultural experiences range from virtual galleries to community art projects. Taking the step to allow digital interaction and curation empowers users to engage with art in meaningful and unique ways.

Neither of these remove from experiencing a live event, but they do build on that and widen the profile of your demographic by being inclusive.

Embrace the virtualMoMA WiFi, combining free internet access with virtual guides: http://museummedia.nl/case-studies/case-study-7-moma-wifi/

Mural Explorer provides interactive access to some of the 3,000 works of art produced by The Philadelphia Mural Arts Program in the past 25 years: http://explorer.muralarts.org/

http://museummedia.nl/case-studies/case-study-7-moma-wifi/



http://explorer.muralarts.org/

http://explorer.muralarts.org/


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It’s not all just conversation and digital PR. Social media offers excellent targeted marketing and promotional opportunities to actively build and engage your audience.

As well as generating fans, interactions and impressions for a little known independent release, this promotion mapped interest across the UK to inform cinema screen bookings.

Key Performance Metrics

39,843,136 impressions (56% social)

68,417 clicks / interactions

6,755 opt-in fans / followers

Average time spent on promotion 3:10

More targeted awareness at 3.85% the budget of banner ads and 44.6 times more interactions

Be Proactive

Fan breakdown:81% interested in entertainment 74% interested in Film or cinema56% interested in comedy

Demo link http://demo-upthere.brandmovers.co.uk/

http://demo-upthere.brandmovers.co.uk/


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John Lyons

Managing Director, Europe

T: 020 7636 2303

@johnnieego

[email protected]

www.brandmovers.co.uk

Contact Info

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http://www.twitter.com/johnnieego

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Social media for the arts