> Becoming a leader> From output-led to cause-led> Future proofing

> ResilienceISSUE 61 | FEBRUARY 2016

What does resilience mean to you?

Business model design

Building Resilience

How to target your local audience

Contents

> RegularsSpotlight ................................................................. 3Just a minute ...................................................... 11Middle Pages: Building Resilience ............ 12Connect Discover Inspire ............................ 20

> Resilience What does resilience mean to you? ........... 4Case study: Future proofing .......................... 6From output-led to cause-led ..................... 9Business model design ............................... ... 10Leadership .............................................................. 14Case study: Becoming a leader ................. 15 Case study: Stop selling yourself short ... 18 Celebrating the AMA Mentoring Scheme .................................... ... 22

Leadership

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© Photo by Gabriel

Carlos for Santa Cruz

Museum of Art & History

Stop selling yourself short

Celebrating the AMA Mentoring Scheme

Just a minute

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www.target-live.co.uk

We keep hearing the term ‘resilience’ being used throughout the arts and cultural sector but what

do we mean by resilience? How can an organisation become and remain resilient? And what role can marketers take to support this?

In this issue of JAM we aim to tackle these questions. We take a closer look at resilience and the journey arts and cultural organisations can take in order to become more resilient.

Julie Aldridge, the AMA’s Executive Director, starts the journey by considering what is meant by resilience and what it can mean to you and your organisation. Putting this theory into practice, Cara Sutherland, Museum Curator at the Mental Health Museum shares her organisation’s experiences of Future Proof Museums; a programme aimed at enabling museums to become more resilient.

Andrew McIntyre, Director at Morris

Hargreaves McIntyre, reflects on the benefits of having a cause-led manifesto to inspire agile leadership and increase organisational resilience. Change management consultant, Susan Royce, explains how business models can help build resilience and introduces the Business Model Canvas.

Mark Wright, Director at People Create, focuses on the role of leaders in enabling an organisation to survive and thrive. Leadership is key with Amber Massie-Blomfield as she reflects on her journey to becoming a leader from a marketing and communications background.

Ben Park, Spektrix’s Head of Business Development, considers how diversifying revenue streams can help enable arts and cultural organisations to become financially resilient.

The Middle Pages introduces Building Resilience a new suite of online modules developed in partnership with Wolff Olins and supported by Arts

Council England. The spotlight falls on Sara Lock, the AMA’s new Associate Editor and queen of CultureHive and Neil Parker celebrates over 15 years of the AMA Mentoring scheme.

We take just a minute’s ride with Giulia Crossley from Julie’s Bicycle and Keren Nicol, from Citizens Theatre in Glasgow, shares her member’s case study in Connect, Discover, Inspire.

> EDITORIAL

The road to resilience

From Casterbridge to CultureHive

Born to a professional organist and a music teacher, a career in the arts was almost inevitable – although my

sporty brother may disagree. I grew up in Thomas Hardy’s

Casterbridge (Dorchester). My favourite music was Vivaldi. I loved books, paper, colouring and creative writing.

Not much has changed apart from – to my Dad’s dismay – the replacement of Vivaldi with a ‘dreadful racket’, otherwise known as jazz and indie. I still live for the arts; I’ve embraced the growing trend of adult colouring and, since joining the AMA team as Associate Editor, I enjoy creative writing every day.

After graduating with a BA in English Literature and Cultural Criticism, I toyed with the idea of

becoming a journalist and attended a talk about a postgraduate course. The lecturer announced that ‘if you aren’t prepared to get up in people’s faces and ask difficult questions then journalism isn’t for you.’ I decided then and there that it wasn’t for me.

I later found my path to Arts Management via the Royal Welsh College of Music and Drama. That course launched my career in arts marketing and helped me secure my first job at Lighthouse, Poole’s Centre for the Arts. It was there, marketing the likes of The Laurence Cottle Big Band and Dennis Rollins, that I developed my love of jazz.

My next role as Marketing and Development Manager at Salisbury Arts Centre introduced me to the originality of small-scale theatre and dance. It was also there, stepping up

to Deputy Director, that I realised I will always be an arts marketer at heart.

Now I get to spend my days interviewing people and writing about marketing and fundraising for CultureHive. I’ve found a little arts marketing journalism niche where getting up in people’s faces and asking difficult questions is not a requirement of the job.

> SPOTLIGHT

Jacqueline Haxton Senior Programme Officer and Editor, JAM, AMAe jacqueline@a-m-a.co.ukTw @amadigital

Sara Lock Associate Editor, AMAe sara@a-m-a.co.ukw www.culturehive.co.uk

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Resilience requires the capacity to adapt to a constantly changing environment, without losing sight of your core purpose. Here we explore some key

characteristics of resilient organisations and starting points for discussions with your team.

1. VISION-LEDA vision or purpose that is engaging, relevant, meaningful and compelling to those around you is key to the longevity of your organisation. People need to feel inspired by what we seek to achieve and feel strongly about wanting to get involved.

How to apply this to your organisation• Does your organisation have a clear and inspiring

vision and purpose?• Is that vision shared and does it motivate people

to get involved – staff, artists, funders, current and potential audiences?

• Do you regularly reflect and review how you’re delivering on this?

How to apply this to you• What difference does your organisation make to

audiences and visitors?• What are the key stories and messages you need

to tell well to engage audiences, funders, sponsors, donors?

• Are you seen as irrelevant to some? How can you set about changing in order to engage them?

2. FLEXIBLE, AGILE, AND OPEN TO CHANGEDictionary definitions of ‘resilience’ talk about being able to ‘recoil or spring back into shape after bending, stretching or being compressed’, or being ‘able to withstand or recover quickly from difficult conditions’.

The world around us is changing constantly. Being able to flex and adapt to external change without losing sight of your vision and core purpose, is an essential part of becoming a resilient organisation. However, flexibility can be required in positive as well as challenging situations, for example a major opportunity such as an event being far more popular than anticipated, can require just as much flexibility.

What does resilience mean to you?Resilience is one of those words that everyone is using right now. Julie Aldridge, the AMA’s Executive Director, considers what is meant by ‘resilience’ and how it might apply to you, your role and your organisation

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A resilient organisational culture therefore includes being open to change, positively seeking new opportunities, not waiting until what you’re doing is no longer relevant to the public, or no longer viable financially, but initiating as well as responding to change.

How to apply this to your organisation• Do staff have clear roles with enough flexibility to

initiate and respond to opportunities?• Is experimentation actively encouraged?• Is failure welcome as a positive part of learning?• How are people encouraged to share ideas and

opportunities?

How to apply this to you• Could you carry out simple experiments to spark

improvements?• Who might you collaborate with internally or

externally to initiate new ideas and respond to opportunities?

• How might you help others across the organisation to test and review ideas?

3. EXTERNALLY FOCUSED – INSIGHT INFORMS DECISIONS AND SPARKS CREATIVITYTechnology, funding and audience expectations are continuously changing – to remain relevant we need to regularly explore and talk about the world outside our own organisations. It’s so easy to get into a routine and to forget about spotting when we might need to try something new in order to have a greater impact.

How to apply this to your organisation• Is insight being gathered and used effectively to

inform short-term, medium-term and long-term plans?• What might need to change internally to improve

how this happens?

How to apply this to you• How might you improve how you initiate, gather

and analyse insight? And then how you share it? • What might you learn from current and potential

audiences?

4. A VIABLE AND FEASIBLE BUSINESS MODELYou might be future-focused and innovative but if you don’t have the resources to bring ideas to life this will undoubtedly lead to frustration and prevent effective implementation. Predictable income streams enable financial security but they also provide the flexibility needed to grow and invest in the future.

How to apply this to your organisation• Is income predictable, sufficient and scalable? • Are all of your income sources actively supporting

your vision? If not, can you adapt them to better deliver on your core purpose?

• Do you have areas of activity that produce low income (or lose income) and are not on vision? If so, why?

• Do you have the essential assets, people and skills needed to deliver on your ambitions?

How to apply this to you• Who might act as a mentor to ask questions to

inspire your future ideas and developments?• How might you share what you’re learning and finding

with others – both internally and externally? (Hint: the AMA membership would love to hear from you.)

FURTHER READINGIf you’re interested in exploring how you might help drive future resilience for your organisation in more depth, the following resources should prove a valuable starting point:

• Read Mark Robinson’s study about Making Adaptive Resilience Real culturehive.co.uk/wp-content/uploads/2013/04/Making-adaptive-resilience-real.pdf

• Find out how experimentation and working in an agile way is benefiting the fellows on the AMA’s Digital Marketing Academy academy.culturehive.co.uk/discovermore/

• Explore a range of case studies from across the arts and cultural sector from organisations exploring how to innovate and improve their business model culturehive.co.uk/tags/business-model

> FEATURE

Julie AldridgeExecutive Director, AMAe julie@a-m-a.co.ukw www.a-m-a.co.uk

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Future proofing

Is this programme really for us? Given that our museum is so new, can we ‘stand next to’ larger, more established museums? We have such complicated and

unique governance; will we be able to relate to any other museum?

We’d be lying if we said that we weren’t apprehensive, perhaps even a tad insecure about taking part in Future Proof Museums. However, over the course of the programme it became clear that our insecurities were shared and our ‘unique’ challenges were more relatable than we’d thought. Our apprehension shifted and each stage presented a new and exciting opportunity to develop as an organisation.

Future Proof Museums is a national programme developed by the AMA and supported by Arts Council England and is designed to enable

Diagnostic sessionAs a museum governed by an NHS Foundation Trust it was apt that the first stage of the programme was entitled ‘Diagnostic session’. Museum volunteers through to NHS corporate portfolio directors met together in one room in order to discuss our purpose, our ambitions and our passions.

Andrew McIntyre was keen for us to think about ‘why’ we exist. Let’s be honest, some museums function under the mantra ‘we exist because we have always existed’. Fortunately, the Mental Health Museum doesn’t have that problem, but being new has its own issues; particularly when the ‘newness’ comes at a time in the NHS when front-line staff are being cut, services are being reduced and, it would be fair to say, there is a general sense of doom and gloom in the public sector. Therefore, we need to be clear and honest about our

museums to become more resilient. Cara Sutherland, Museum Curator at the Mental Health Museum in Wakefield, shares her organisation’s experience of the programme

Below Control and Freedom display at the Mental Health Museum. Objects selected by service users to help interpret the complex debates

surrounding control in mental health care. © Mental Health Museum, Wakefield.

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existence. After all, ambiguity in a museum’s purpose is suspicious.

So, what was our organisational diagnosis? We are optimistic believers. It might sound strange that it took a session with Andrew to get us to see this, but the reality was that we couldn’t see the wood for the trees. The Mental Health Museum is new, it’s odd, its governance is a bit misshapen, it sits somewhat uncomfortably within the Trust and our future is uncertain, but all of the minds in that one room believed in the museum and its potential to directly affect social change. That was a very good start.

Residential Like almost all the museums on the programme, the Mental Health Museum faces an uncertain future and at the time of the residential stage we were waiting on the result of our five-year business case submission.

‘You don’t always know what you are going to face but you can control how you face it.’ That phrase rang in my ears for the duration of the day and as long as I didn’t think about it too much, it made a whole lot of sense. We couldn’t control the outcome but we could control how we reacted to it. We need to be willing to adapt to any outcome.

That’s the thing about resilience; it’s not a fixed entity, you can change what resilience means to you at any given time. Throughout the three days I had some fantastic conversations and discovered that resilience meant lots of different things to lots of different people. To the museum team, right now, resilience means relevance. We will be resilient against our uncertain future if we can remain relevant to people.

The residential programme provided us with that rare and elusive opportunity to take stock of our organisation and talk through our individual challenges in a candid and confidential manner. As the saying goes, a problem shared is a problem halved.

Ongoing supportI left the residential feeling lighter and although my brain felt saturated with information and ideas, I didn’t feel overwhelmed. I was excited to return to the museum and discuss my learning with anybody who would listen. The only problem was the reality of coming back to work. At

Below ‘Mini-museum’ handling box. The Mental Health Museum has worked with staff and service users to create learning tools that explore some

of the historical contexts to powerful and emotive museum objects. © Mental Health Museum, Wakefield.

Above left Artwork from Mothers Apart: Life in the Goldfish Bowl, an exhibition co-produced

with WomenCentre in Halifax. Above right Mental Health: Let’s Keep an Open Mind an

exhibition designed and curated in collaboration with mental health service users. © Mental

Health Museum, Wakefield.

> CASE STUDY

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the residential I was in a bubble for three days and although I scheduled in time to write up my notes, research the links I was given and draw out my new shiny business canvas, once I was back, it didn’t quite happen like that.

Instead the learning began to permeate through day-to-day tasks: we approached projects using some of the business tools; conversations began to start with ‘why’ rather than ‘how’; and I found myself reflecting on my behaviour more, because Mark Wright was right; people are more likely to follow my behaviour than my strategy.

Not long after the residential stage, we were delighted to hear that our business case was approved. It was a comfort to know that we would then get a full-day with programme trainer Susan Royce as part of Stage Three of the programme. Susan prepared a session that encouraged the team to explore how the museum could be central to the NHS Trust rather than an added ‘extra’. Susan knew that this was a concern of mine and an area that I wanted to address head-on in the workshop.

Over the next four hours we talked to each other, listened to every thought and opinion, and ultimately

learnt a lot about our organisation. It was evident that the workshop highlighted what we should be doing but currently weren’t: communicating with each other.

One sprawling mess-map later and we were beginning to see a much bigger picture. The Mental Health Museum needs to create and strengthen links within three key areas of the Trust:• Staff induction and training• Executive Management Board and

Charitable Funds Committee• Recovery Colleges and Creative

Minds projects

ConclusionThere are a great many challenges ahead of us, some we know all too well and others will be new to us. How we choose to face them will be influenced by our learning on the programme and by our commitment to working together as a team.

With that in mind, to conclude this case study I asked my colleague Ruth Quinn, Museum Assistant, to sum up our ‘next steps’. Ruth said:

‘As a small museum it can seem a bit daunting to think big, but the Future Proof Museums programme really

brought home the fact that in our own unique way we are changing the world that we live in. The biggest challenge for me is to act on moving forward and working together. It is very easy to have one day of amazing inspiration with colleagues at a training session, then go back to the office the next week and feel at a loss as to how to deliver work that is mutually beneficial to the museum and to services. Our next steps should be about celebrating what we do and communicating who we are and what we stand for to our immediate communities of Trust staff and service users. Hopefully this will enable more creative discussions with other services to find reciprocally beneficial projects.’

Future Proof Museums> CASE STUDY

STAGE ONE – DIAGNOSTIC SESSIONEach museum taking part in the programme started by exploring their future direction as a team with expert trainer, Andrew McIntyre. This full day workshop took place within each museum to enable a range of people to take part.

STAGE TWO – RESIDENTIALIn September 2015 the director from each museum attended a three-day intensive residential. The four trainers focused on different elements: Andrew McIntyre addressed organisational cause and manifesto; Susan Royce and Julie Aldridge explored the Business Model Canvas; and Mark Wright discussed leadership style and techniques.

STAGE THREE – ONGOING SUPPORTEach museum selected their preferable style for Stage Three, ensuring a tailored programme of ongoing support. On offer were: facilitated sessions in the museum; senior management team leadership development; face-to-face mentoring and online mentoring.

The Future Proof Museums notebook provides a sample toolkit designed to help museums explore how they can adapt and remain relevant in an ever-changing world. Download or request a printed copy at www.futureproofmuseums.co.uk/notebook

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Cara SutherlandMuseum CuratorMental Health Museum e Cara.Sutherland@swyt.nhs.ukw www.mentalhealthmuseum.co.uk

Over the past decade, many cultural organisations have returned repeatedly to the task of redrafting their mission and/or vision

statements. It is not unusual for us to have created several versions of these. Even then, most statements don’t manage to articulate our true vision – how the world will be different if we succeed – but instead they mainly define outputs – what we will do and what will be the reputational gain of doing it; usually recognition for excellence.

Repeated attempts to rewrite our vision using the same orthodox process and to author a statement in the same narrow format often fail to transcend this output-led approach.

What is required is a richer, more powerful articulation of why we do what we do – a cause. The dictionary defines a cause as ‘the socially valuable principles, ideals and goals to which we are dedicated’ and offers the use case of ‘making common cause – to unite in a joint effort; work together for the same end.’

This is so much more inspirational and so much more appropriate to us than the tired old mission and vision templates we’ve inherited from local authority and commercial business planning. If we are simply trying to run our activities with a little more focus and

efficiency, then maybe a traditional mission statement will suffice. But if we want to engage with the world, leave our artistic mark, make a cultural impact or have ever used the word ‘transform’, then nothing short of a cause will do.

And, while the old mission statements were prized for the fewest words possible, a cause may take us a whole paragraph. And, while we’re being expansive and inspirational, why not let our cause really breathe, write a whole page and call it a manifesto? Manifestos are written by people trying to change the world. Surely that’s us?

This new type of statement needs a whole new way of producing it. We’ve developed an inclusive and creative process using a ‘Big Bang’ workshop for as many staff and stakeholders as possible. It generates, triages and

analyses dozens of big ideas, fundamental values, beliefs and principles, distilling a set of essential statements that fuel debate about our direction. It then challenges the leader to write and proclaim their manifesto. This combines the strength of crowdsourcing, the inspiration of leadership and the shared ownership of collaboration.

This cause-led manifesto approach creates a sense of common cause and a common language to discuss that cause. It inspires agile leadership guiding the organisation towards that cause. And, ultimately, this inspirational focus sharpens our business plan and increases our resilience as we tack and gybe our way through the difficult headwinds in pursuit of our common cause.

Andrew McIntyre reflects on the benefits of having a cause-led manifesto to inspire agile leadership and increase organisational resilience

> FEATURE

From output-led to cause-led

Andrew McIntyreDirector, Morris Hargreaves McIntyree andrew.mcintyre@mhminsight.comw www.mhminsight.com

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Cara SutherlandMuseum CuratorMental Health Museum e Cara.Sutherland@swyt.nhs.ukw www.mentalhealthmuseum.co.uk

> FEATURE

BUSINESS MODEL DESIGN

A KEY COMPONENT IN BUILDING RESILIENCE

The modern focus on business models has its origins in the disruptive innovation that has accompanied the digital

revolution, undermining and transforming established industries and birthing new ones.1

In the arts and culture reductions in public funding have added to this disruption, rendering most models vulnerable and many unviable. In this Darwinian context business model literacy is a key survival trait.

Osterwalder and Pigneur explain that a ‘business model describes the rationale of how an organisation creates, delivers and captures value’.2 The emphasis on value creation is fundamental and is by no means restricted to money.

In a recent workshop a team of museum managers identified over 20 different types of value that their organisation creates ranging through social, cultural, economic, environmental and fiscal. The tripartite relationship of value creation, delivery and capture is also crucial: how is the value created, to whom is it delivered and how; and how can the organisation capture enough of it to be viable financially and culturally?

Zolli and Healy define resilience as: ‘The capacity of a system, enterprise, or a person to maintain its core purpose and integrity in the face of dramatically changed circumstances.’3

The relationship between good business model design and resilience can be summed up in the aphorism: ‘No business plan survives first contact with the customer’.4

Business plans must, by their very nature, assume a knowable future although we are living in a world in which plans are likely to be outdated as soon as they are signed off. Working with business models allows for the

unknown and unexpected while ensuring that everyone understands how the organisation creates value and delivers its core purpose.

At the heart of their excellent and accessible book Osterwalder and Pigneur offer a simple tool for visualising and ‘re-imagining’ business models.5 The Business Model Canvas (BMC) is a one-page template for mapping business models. At the BMC’s core is the value proposition(s) that an organisation offers to its various customer groups. Desired relationships and distribution channels must be identified together with the revenue streams that they support. The left-hand side of the BMC focuses on key activities, resources and partnerships. The BMC makes it clear that a financial model is just the result of the decisions that the organisation and its customers make; if the numbers are unappealing then the model itself must be changed not just the spreadsheet.

An ability to understand, analyse, rethink and redesign business models in response to a rapidly and radically changing world is and will continue to be a fundamental survival skill for cultural organisations as they seek to remain relevant to their audiences, visitors and funders. The BMC is a great tool for developing and honing this critical skill.

Susan Royce explains how business models can help build resilience and introduces the Business Model Canvas – a tool to help arts and cultural organisations review how they create, deliver and capture value

Susan RoyceChange Management Consultant e susanjroyce@gmail.com

REFERENCES1. Christensen, C. The Innovator’s Dilemma.

Boston: Harvard Business Review Press, 19972. Osterwalder, A. and Pigneur, Y. Business Model

Generation. New Jersey: John Wiley & Sons, 2010

3. Zolli, A. and Healy, A.M. Resilience: Why Things Bounce Back. New York: Free Press, 2013

4. Adapted by Steve Blank from Helmuth Graf von Moltke.

5. Osterwalder, A. and Pigneur, Y.

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Susan RoyceChange Management Consultant e susanjroyce@gmail.com

JAM 61 > 11

> JUST A MINUTE

What is your first memory of the arts?

As a kid I was an avid reader and used to digest books at an alarming rate (not much has changed here). My favourite character was Just William and my favourite story was the one where he gate-crashes a production of Hamlet and launches into a brilliant, yet hideously inaccurate version of the ‘To be, or not to be’ speech. Clearly inspired by William Brown, I nabbed my mum’s Complete Works of Shakespeare and spent weeks trying myself to memorise the iconic soliloquy, which I then performed to my bemused family; a star was born.

How did you get into arts marketing?

On my gap year I was lucky enough to snare a job in the local council’s arts and heritage department as a marketing assistant. The department was always buzzing and I loved the variety and span of the job – everything from museums, and art galleries to the library and historic buildings. One day I’d be writing a press release, the next attending meetings at design agencies, updating the website or flyering in the square. I saw an opportunity for me to combine my creative and analytical skills and it opened my eyes to a career path full of possibilities.

Get to know other AMA members in just six questions

Just a minute

Giulia Crossley Communications and Marketing Manager, Julie’s Bicyclee giulia@juliesbicycle.com w www.juliesbicycle.com

What attracted you to the arts sector?

I believe that we are all inherently creative and that the arts have the ability to enrich us in a way nothing else can. I never had the desire to pursue a career in performance, but I wanted to be part of this process and as I started to look at the opportunities, I saw that the arts was made up of hundreds of different vocations, each unique and essential. Marketing was a natural fit for me and, despite the long hours and modest pay, I’m still driven and passionate about the career path I have chosen.

When and why did you join the AMA?

I joined the AMA in 2010. Essentially as soon as I realised there was an organisation ‘for people like me’ I signed up. Working in arts marketing, you are often the only person doing what you do in the organisation and it can be tough to stay engaged and up to speed with the latest industry trends and goings on. The training programme is extensive and I love the website, which is full of tools, advice and inspiration. I never miss the chance to geek-it-up at a networking event and fundamentally it’s wonderful to feel part of a community.

What is your proudest moment?

Professionally, it has to be the development and launch of the Julie’s Bicycle website. I managed the process: wrangling with wireframes, slogging through hours of content upload, and tensely undertaking bug testing before the much anticipated launch. My blood, sweat and tears literally went into it and I am hugely proud of the end result. Not only does it look beautiful, it’s full of clever stuff including integration across smart-devices, extensive tagging and microsite functionality. The company is fast paced and continues to change so it’s essential the website keeps up with these changes – it’s like a living thing.

What is your greatest indulgence?

I’m a lover of experiences rather than stuff. Living in London means there’s always something new to see and do, especially when it comes to culture. I’m always on the hunt for quirky, challenging or down right mad pieces of theatre or art. I’m a sucker for an immersive theatre show – if it involves wandering the halls of some abandoned building in the dark, the chances are I’ll be there cowering in the corner.

BUILDING RESILIENCE

The Building Resilience modules are for leaders working across the museum, library, arts and cultural sectors. They have been designed to inspire thinking about how to build and maintain resilience within your organisation.

Resilience requires the capacity to adapt to a constantly changing environment, without losing sight of your core purpose.

‘To become resilient and to thrive as an organisation, means not just bringing in enough money, but also getting better and better at the organisation’s core purpose – staying vital to its community and to the wider world. The context for arts organisations, like most others, is unpredictable, and organisations need to be able to respond quickly both to tough times, and to exciting new opportunities,’ says Robert Jones, Head of New Thinking at Wolff Olins.

The three modules will be accessed on demand at a time and place to suit you. The first module is designed as a thought piece to inspire your core purpose. It will share perspectives, ideas and case studies from the arts and commercial sectors to give you some fresh insights into the process of how to shape and define a compelling vision and future direction; to ensure this is shared across your organisation and drives everything that you do.

The second module will share core principles for developing a resilient business model that enables your organisation to realise its purpose. It will introduce a tried and tested tool and provide some insights, examples and a suggested process for reviewing, adapting or transforming your business model.

The third module explores the characteristics of an effective team and the role of the leader in influencing and shaping this. In creating an environment of ‘adaptive resilience’, you foster and celebrate a mindset, where there is little or no desire to return to how it was. Instead, teams actively want to evolve, grow, shrink, and reinvent themselves in order to achieve their shared vision.

Each module ends with links to further support to help you drive forwards the ideas within your organisation – links to further reading available free of charge, as well as sharing further training, mentoring, and bespoke facilitation that may be of interest to you.

‘Becoming resilient isn’t something that you do as a one-off planning exercise. For those taking on the role of facilitating change in their own organisation, these three modules will provide some next steps in exploring your way of working and in considering how to remain relevant and viable now and into the future,’ says Julie Aldridge, the AMA’s Executive Director.

In December 2015 the AMA announced a new suite of online modules developed in partnership with branding agency Wolff Olins and supported by Arts Council England. Laraine Penson, Associate Producer at the AMA, explains more

REGISTER YOUR INTEREST

Find out more about these exciting new modules and to register your interest visit www.a-m-a-resilience.co.uk

INTELLIGENCE BRIEFING: BRAND LOYALTY

Robert Jones will be leading a session on Brand Loyalty for the AMA on 24 February from 2-5pm at the Whitechapel Gallery, London.

This event is for senior marketers responsible for brand strategy in their organisations. Find out more and to book a place visit www.a-m-a.co.uk/events

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The modules are designed as a starting point to inspire your thinking if you’re exploring these ideas for the first time, but will also provide a range of new perspectives if you’re an experienced CEO wanting to revive or transform your approach.

Robert shares one of the core benefits of online learning: ‘Online learning is often seen as second-best to face-to-face learning: not true. People can learn at their own speed, in their own time, review things as often as they like – it’s all on their agenda.’

This view is shared by the AMA. We launched our online learning programme three years ago. Head of Programme Cath Hume says:

‘Online learning is a fantastic way to give people the information they need without them having to leave their desk or dip too deeply into limited finances. What’s exciting about online learning are the multiple ways that people can engage whether it’s a trainer-led workshop or a short, snappy learning video. The flexibility appeals to people’s busy lives.’

As Robert concludes: ‘We hope, over time, hundreds, maybe thousands, of arts professionals will discover some exciting new ideas and methods, and feel more self-reliant and resilient.’

Laraine PensonAssociate Producer, AMAe laraine@a-m-a.co.ukw www.a-m-a.co.uk

Resilience requires the capacity to adapt to a constantly changing environment, without losing sight of your core purpose.

MORE RESOURCES

To download a copy of the Future Proof Museums handbook featuring trainer insights and best practice case studies visit www.futureproofmuseums.co.uk/notebook

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> MIDDLE PAGES

In 1891, William Wrigley Jr realised that his customers were less impressed by the soap he was selling than by the chewing gum he was giving away. Just two years later, he had redefined an otherwise niche product into a mass-market phenomenon.

Forty-five years later and half a world away, Lee Byung-Chull was selling noodles through his small trading company, Samsung Sanghoe. By 1969 it was transforming itself into the mighty Samsung Electronics.

Even Nokia, which began in 1865 when Fredrik Idestam opened a paper mill and evolved into one of the world’s most successful mobile phone companies (via tyres and Wellingtons), is now carving out a new future in mapping and location services, while its handset manufacture gets steadily subsumed into Microsoft.

The common thread is a not-entirely-pain-free story of resilience, agility and realising where the inherent value of the company lies.

It is ironic that, in most of our organisations, we strive to establish the very thing that can bring about our demise. Predictability – manifest in systems that reward consistency, in strategic plans that promise clarity, reinforced in daily routines and weekly meetings – is

Valium for the organisational brain.In a sense, this should be no surprise – we are

mostly complicit in creating it. A need to feel secure is in our psyche and we

inevitably project our personal needs into the culture of

our organisations. And this is fine until our

attachment constrains

us:

when remaining in the irrelevant or damaging present seems safer than moving to a future unknown. You only need to ask Kodak, HMV and Blockbuster about that.

The pace of change, the expansion of competition and the ravenous expectations of our customers is only going in one direction, while leaders in too many organisations employ patterns of thinking and behaviour that are prehistoric in comparison to what is needed. This might seem like unreasonable criticism, but it isn’t intended to be; it is just what we tend to do when faced with the unfamiliar. We fall back on experiences that have worked in the past to solve our dilemmas of the present – a neurological safety net that was great in slower times but is pretty much redundant now.

Going forward, successful leaders are creating a fresh context to equip those around them for a bold future: balancing competition with collaboration, being agile, moving before being certain, adjusting on the go and understanding that competitive advantage is transient.

This requires a very conscious application of new leadership behaviours: flattening hierarchies, emboldening teams, focusing on intrinsic value to the end user and, perhaps most difficult of all, being prepared to radically rethink what they need to do in order to survive and thrive.

In their own ways, I think William Wrigley, Lee Byung-Chull and Fredrik Idestam would understand.

To survive and thrive an organisation needs to be resilient and agile and leadership is key to this. Mark Wright explains why

Leadership

Mark WrightDirectorPeople Create Limitede mark@people-create.co.uk w people-create.co.uk

FURTHER READING

• hbr.org/2013/07/surprises-are-the-new-normal-r/• hbr.org/2011/06/building-a-resilient-organizat• hbr.org/2013/11/why-is-resilience-so-hard/• www.ted.com/talks/carol_dweck_the_power_of_

believing_that_you_can_ improve?language=en

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Mark WrightDirectorPeople Create Limitede mark@people-create.co.uk w people-create.co.uk

> CASE STUDY> CASE STUDY

Communications people are mounting a quiet revolution in our theatres, taking the top jobs and demonstrating exactly

how it ought to be done. Check the CVs of chief executives or executive directors in any of the major venues, and you’ll find they’re just as likely to have started out as a press officer or a marketing assistant as a producer or administrator.

It’s a transition that makes perfect sense. After all, the basic skills of a marketing person are exactly what you

need to run a venue successfully: an ability to communicate with a wide- range of people; a capacity to think both long-term and to be responsive; and a good grasp of budgets (check, check, check). Above all, what we ‘comms’ folk understand better than anyone is audiences: who they are, where they come from and what makes them tick – and that’s what it’s all about, ultimately.

I made the switch from Head of Communications at the Albany to Executive Director of Camden People’s Theatre (CPT) about a year

Amber Massie-Blomfield, Executive Director of Camden People’s Theatre, reflects on the benefits of moving into a leadership role from a marketing and communications background

Becoming a leader

Photo by Camden People’s Theatre.

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ago. I’m not alone. While the majority of executive directors tend to come from producing backgrounds, an increasing number are from marketing and PR backgrounds – take Jonathan Gilchrist at the Bush (formerly Marketing Director at the Lowry) and Alan Stacey at the Young Vic (formerly Commercial Director at Young Vic and Marketing Manager at Bill Kenwright Limited). Even Nick Starr, the poster boy on every executive director wannabe’s bedroom wall, started his career in the National Theatre’s press office.

Camden People’s Theatre has been a brilliant place to cut my teeth as an Executive Director. We’re a tiny organisation, which means I have to learn how to do absolutely everything. One day last week I appeared in front of a government select committee, sorted out a leak in the roof, wrote a funding bid and proofed a brochure,

before jumping behind the bar to help out. I never know what the day is going to throw at me and that’s why I love it. My dad made a good comparison to being a goalie: you don’t want to play for a team that’s got it too sorted, or you’re never going to get any practice.

It hasn’t all been plain sailing. It’s taken a while to get into the rhythm of funding applications: the world of marketing is so fast paced, getting used to having to wait six months for a decision on something is agonising. Managing budgets and accounts is far more complex than it ever is managing a marketing budget. And I still have no idea how the lighting desk works.

But I’m a firm believer that if a job doesn’t push you outside your comfort zone in some way, you shouldn’t be doing it. For the most part, I’ve found that, as long

as I’m honest about the areas I’m less skilled in, and clear about what I intend to do to address them, people are really supportive. There’s always someone willing to give you advice in exchange for a coffee or a pint, and it’s amazing how much you can find out from Google.

I read an interview with Rufus Norris just before he started at the National Theatre, in which he said the secret to his success is surrounding himself with smart people, and making decisions. This strikes me as pretty good advice for being an executive director, too.

You can’t be brilliant at everything, but you can find people who are brilliant in their fields, and support them to excel. I’m lucky to be surrounded by an amazing team at CPT, who are passionate, smart and incredibly hardworking. The secret seems to be finding people who understand the vision and buy into it; it’s part of the director’s job to ensure that vision remains fresh and relevant in people’s minds. You’ve also got to trust people to get on with it. It took me a while to figure out that not everyone approaches tasks in the same way, and just because others don’t manage things exactly as I might, that doesn’t mean they’ll be less successful.

Being willing to make decisions is, in my opinion, just about the most important trait an executive director can have. It can be incredibly difficult sometimes, especially when the decision is something that will have a significant impact on the long-term future of the organisation. I’ve realised that there’s often not a right or wrong

The secret seems to be finding people who understand the vision and buy into it; it’s part of the director’s job to ensure that vision remains fresh and relevant in people’s minds.

Above Camden People’s Theatre’s in-house show This is Private Property. Photo by Helen Murray.

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Amber Massie-Blomfield Executive DirectorCamden People’s Theatre

e amber@cptheatre.co.uk w www.cptheatre.co.uk

... the basic skills of a marketing person are exactly what you need to run a venue successfully

Photo by Lydia Stam

ps

answer – just two paths that will steer things in slightly different directions.

When you start in a director role, a lot of people ask you about how you plan to change the organisation. While it’s important to have a sense of where you’re heading, it can take some time to get a real understanding of the organisation and its role in the ecology, and I think it’s quite helpful to be humble about acknowledging this. Many aspects of an organisation work in a certain way for a certain reason, and you won’t really understand that until you’ve had some time to get to know it. You’re not starting with a blank sheet of paper; rather you have to understand your materials and work with them to start sculpting the organisation you want to lead.

Step By Stepmarketing campaign planning24 FEB 2016

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Brand Loyalty winning the active commitment of audiencesLondon 24 FEB 2016

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Google Analytics plan, deliver, reportBirmingham 24 FEB 2016London 2 MAR 2016

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Theory Into Practiceimplementing marketing campaigns 2 MAR 2016

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Online Copywriting Dayevery word counts London3 MAR 2016

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Retreat 1marketing leadership programmeCambridge7 – 10 MAR2016

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Campaign Evaluationmeasuring your success9 MAR 2016

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Statistical Storiesusing data creatively to reach and engage your audiences London 15 MAR 2016

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Donor Development acquisition,

cultivation and stewardship

17 MAR 2016......................................................................

AMA Conference 2016 On a Mission to

Matter Edinburgh 12 – 14 JULY 2016 ......................................................................

DATES FOR YOUR DIARY

KEY ON LOCATION ONLINE

www.a-m-a.co.uk/events

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> CASE STUDY

Stop selling yourself

The Chancellor’s 2015 Autumn Statement held a surprising detail for arts and culture, with the announcement that Arts Council England (ACE) is to receive a 1-2% rise in its budget over the next five years. When many of us working

across the arts and cultural sector were braced for significant cuts, this came as a pleasant surprise.

Nonetheless, this extra £10 million in subsidy (welcome as it might be) still amounts to a 5% cut in real terms. And so as public subsidy remains an unpredictable income source for the arts sector, it’s important that we ask ourselves: what can we do to ensure our industry is strong and resilient in the future?

Diversifying your revenue streams is a proven and reliable way of bringing additional income into your organisation, and an option that is open to virtually every arts and cultural organisation.

The Mercury Theatre in Colchester have been leading the way in this area recently, by utilising their existing box office as an agency for events both in their community and beyond. In the past year, the Mercury have sold tickets to skaters at an ice rink, to families attending a local fireworks display as well as visitors touring country houses across the UK – all alongside their full-time operations as a theatre.

The Mercury receive 30% of their income from ACE and their local councils, with the other 70% of their income coming from earned revenue like ticket sales. Throughout 2015 agency sales have become an increasingly important part of this earned income, amounting to 15% of all ticket sales and contributing upwards of £300,000 in revenue to the theatre. Robin Fenwick, Director of Communications and Audience Services at the Mercury, explained to me:

‘This is a rapidly expanding area of business for us as word-of-mouth gets round local organisations and charities. Clients are predominantly organisations who

would not find it cost effective to run their own box office, but who want to offer high standards of service to their customers. We set commision rates based on the turnover of the organisation we’re working with, and we’re usually the most competitive option for an organisation that wants to offer a full service box office across web, phone and counter. For local organisations they also have the peace of mind of working with a dedicated contact, usually one of our box office team, who they can meet face-to-face.’

The value of using your box office as an agency isn’t just in one-off sales, however. The Mercury have found that 12% of their agency customers are also theatre bookers on their database, giving them more information about how to segment and target their communications to these existing customers. For agency customers who have yet to visit the Mercury, ticketing events, like a local fireworks display, gives the theatre valuable exposure in the community, particularly when it comes to reaching people who might not ordinarily consider going to the theatre.

The Mercury have successfully found a new way of utilising the resource they already have within their box office, diversifying their revenue streams and bringing in a

Ben Park looks at how the Mercury Theatre in Colchester and Regent’s Park Open Air Theatre have diversified their revenue streams to help make them financially resilient

Above Box office at the Mercury Theatre, Colchester.

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> CASE STUDY

significant amount of new income. However, making the most of your diverse revenue streams doesn’t mean kicking off such a large project. What about the products you’re already selling alongside your tickets? Are you making the most of your upselling and secondary spend opportunities?

Regent’s Park Open Air Theatre (RPOAT) have become masters of secondary spend, and their Regent’s Park Burger makes for one very successful case study.

Receiving no ACE subsidy, the RPOT’s food and beverage offering is a substantial portion of their revenue – thanks in no small part to their website. The online success of the Regent’s Park Burger lies in its position along the purchase path and how this fits into the context of what the customer is buying. Having reached the RPOAT website, the customer explores the events, finding the one they would like to attend and putting their ticket(s) into the basket. It’s only once they’ve made this crucial step – with the customer having made a mental commitment to buying their ticket(s) and now looking forward to the event they’re going to enjoy – that the meal is offered to them. Placed here in the purchase path the food is an attractive optional extra; the icing on the cake of the experience they’re

already booking, genuinely adding value to the customer’s experience.

If we consider how cinemas approach secondary spend, with the UK’s second largest cinema chain earning 40% of its revenue through food and drink alone, there’s still much we can do in the arts sector to tap into this opportunity.

Whether it’s through carefully considering your customer journey for secondary spend, or by exploring entirely new revenue streams for your organisation, there are untapped opportunities out there for arts organisations of all sizes when it comes to diversifying your income. We’re great at selling our primary product in the arts, the shows and the exhibitions we know and love, but what about everything else? We need to explore new revenue streams now, or risk missing out on a much-needed cash injection.

Ben ParkHead of Business DevelopmentSpektrixe ben.park@spektrix.comw www.spektrix.com

Above Regent’s Park Open Air Theatre. Photos by David Jensen.

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In this member’s case study, Keren Nicol, Marketing and Communications Manager at Citizens Theatre in Glasgow, explains how the theatre used a ‘geo-targeted’ marketing campaign for the new play Fever Dream: Southside

BackgroundThe Citizens Theatre is a beautiful Victorian theatre that has stood proudly in the Gorbals area of Glasgow since 1878. Despite the local streets and communities changing beyond recognition it retains a strong sense of local identity.

In Spring 2015, the Citizens Theatre programmed Fever Dream: Southside by Douglas Maxwell. This new play was set in the Citizens’ local area of the Southside of Glasgow and took place during a year of celebrations of the company’s 70 years in its Gorbals home.

Fever Dream: Southside was an important part of the Citizens’ programming strategy to present work for and about Glasgow to audiences. It also featured a large, plain-talking Glaswegian pterodactyl named Terry.

ObjectivesTo support this programming strategy, my team and I planned a geo-targeted marketing campaign to increase the proportion of audiences attending from selected postcodes in the Citizens’ locality.

Target audiencesUsing the Royal Mail’s postcode finder, we established that many of the places referenced in the show were situated in two specific sector areas in our neighbourhood, known as Govanhill.

Analysing box office data for five other plays about or set in Glasgow presented between 2013-2015, we discovered that on average, around 3% of our audience came from these sector areas. We felt with a targeted campaign, we could increase this proportion by 50% which, if successful, would deliver our highest number of audience members from Govanhill to any of our benchmark shows.

ProcessWhen creating the artwork for the publicity campaign, we commissioned local artist Stephen O’Neill to create a new piece of art based on a Govanhill landmark.

Stephen’s work is well-known around Glasgow and

he had also recently opened a new gallery on a busy shopping street in our target area. His artwork was a fantastic signpost for people in the local area.

We used Royal Mail’s door-to-door service to send leaflets for Fever Dream: Southside to every residential address in Govanhill. The cost of this was comparable to our regular direct mail campaigns, though the number of records was far higher. We diverted our normal city-wide print distribution spend to an intensive distribution of print to businesses in our target area, as well as engaging our distribution company in hand-to-hand leafleting at community events. Outdoor advertising was weighted towards sites in and on the routes into Govanhill.

Terry (remember him? the pterodactyl) helped us deliver a social media campaign. In the weeks leading up to the opening night, we hid ticket vouchers around Govanhill. Using the hashtag #wheresterry we left clues as to the whereabouts of the vouchers on our social media accounts. As well as giving local people the chance to come along to the play for free, we were also populating our social media channels with content about our local neighbourhood and reinforcing the Citizens’ reputation as an organisation that is proud of its community.

One of the proudest moments in my career to date has been watching two of our audience members troll one another on Twitter as they raced to find a free ticket. Of course they were both pipped at the post by a rank outsider.

Our trailer and teaser trailer also featured #wheresterry and Southside landmarks. We paid for Facebook, Youtube and Twitter advertising to specifically serve these films to fans of other Govanhill businesses and services, accompanying the films with ad copy highlighting the local setting of the play.

OutcomesThe campaign far exceeded our 50% growth target. Bookers from Govanhill made up 9% of our audience, four times what we’d targeted. In fact, we attracted

How to target your local audience

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our highest number of Govanhill bookers to any of our productions in the last three years, even with a modest overall audience target for Fever Dream: Southside. Unexpectedly, there was also a massive growth in first-time bookings from this area, up from an average of 3% of all our first-time bookers to 12%

Key learning points The leaflet drop was a great tool for us to get the word out to a very specific area. It’s a print-hungry communication method, so bear in mind how much your print run will increase when costing. It’s also prohibitively expensive for us to extend to more than a couple of postcode sectors.

We had set up a ticket offer for local businesses and organisations, and publicised this by phone and by email. I think by pounding the streets we might have had a greater take up of this offer, though in the end it wasn’t necessary to discount tickets in order to reach our targets.

The potential for geo-targeted advertising on social media and online is massive, and we barely scratched the surface with this campaign.

However, as ever in our industry, staff resources meant that we had to be selective about what we could concentrate on.

Keren Nicol Marketing and Communications ManagerCitizens Theatree keren@citz.co.uk Tw @citizenstheatrew www.citz.co.uk

> CONNECT, DISCOVER, INSPIRE

Conclusions and recommendations This campaign was a direct response to the company’s business plan:

‘We believe in being at the heart of our community’ Value, Citizens Theatre Business Plan 2015-2018.

This is taken to heart by our staff across all areas of the company. We had the support of our colleagues and senior management team to achieve this objective. In particular, the show itself, which was fun and accessible with recognisable characters and settings, was the starting point for the whole campaign.

When setting specific targets for your next campaign, be honest about whether it supports your organisation’s vision, and whether the product you’re offering matches that vision.

As Terry would say: ‘Y’know whit ah mean?’

CONNECT, DISCOVER, INSPIRE if you have a case study that you’d like to share in the next issue of JAM please email Jacqueline Haxton at jacqueline@a-m-a.co.uk

Above left Ticket voucher for Citizens Theatre’s #wheresterry social media campaign. Above right Fever Dream: Southside, Martin Donaghy

and Charlene Boyd, photo by Tim Morozzo.

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Firstly, there would be nothing to celebrate if it wasn’t for all our mentors who give their time and support to the scheme. The AMA would like to extend a huge thank you to all our mentors who have taken

part or are still active on the scheme. It’s amazing to think that we have some members

still mentoring on the scheme from the original pilot that took place in 2000 and one mentor who has been matched 11 times.

The AMA launched its pilot mentoring scheme for 24 mentors and 24 mentees in March 2000. Training was provided by Chris Roebuck, (partner at David Clutterbuck Associates) with funding from the Arts Councils of England and Wales and the Scottish Arts Council.

Following the success of the first pilot group, the scheme was rolled out on a self-funding basis and it has now trained and matched 22 cohorts of mentors and mentees and matched over 340 pairs.

In 2012 the AMA piloted the first online mentoring training, which proved a great success. Since then we have continued to use the online training format for all mentoring training.

We have also produced a Mentoring screencast for mentors, which provides guidance on key mentoring techniques and is aimed at people who are either mentoring or thinking about mentoring.

‘Being a mentor complements my work - both as a marketing manager and a psychotherapist – and is a satisfying way to use my skills outside the day-to-day office environment. It’s really rewarding – and it’s helped me to realise how much knowledge I’ve accumulated over 20 years. I’ve also learned a lot from my mentees too, it’s definitely a two-way process. And of course it feels great to be sharing insights and giving something back.’

Catrin JohnMarketing and Communications ManagerWatershed

‘Being a mentor has been an immensely valuable experience. Every mentee comes with a different range of situations, experiences, skills and knowledge, which means I always learn a great deal from participation as well as it being both rewarding and enjoyable.’

Jonathan GoodacreRegional Director, EastThe Audience Agency

Neil Parker Business Services Managere neil@a-m-a.co.uk w www.a-m-a.co.uk

Celebrating the AMA Mentoring Scheme

ABOUT THE TRAINER

Kate Whitlock spent six years running the AMA’s mentoring scheme and inspired by this experience gained the CIPD’s certificate in coaching and mentoring with merit in 2009. Kate now undertakes the online mentoring training on behalf of the AMA.

Mentoring The next online mentoring training will take place on Friday 22 April 2016. More details about this training and to access the new Mentoring screencast go to www.a-m-a.co.uk/mentoring

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Marketing • Creative • PR • Media • PromotionsDigital • Social Media • General Management

Target LiveMusic Festivals 2016

From the new dance stage atFIB Benicàssim 2016,

to the new players in our festival line up across the UK and abroad.

Target Live works with an eclectic mix of music festivals,including the hugely popular Latitude Festival, which has been

shortlisted for this year’s Artists Favourite Festival at the European Festival Awards.

Target Live’s profile of festivals has expanded for 2016, to include the likes of Download Festival, New Look

Wireless Festival and Scarborough Fair Festival.

Along with these festivals, Target Live continues to deliver successful advertising campaigns for the popular

Electric Daisy Carnival UK Festival, Hampton Court Palace Festival,Greenwich Music Time, FIB Benicàssim Festival as well as the

annual rock music festivals that take place in Reading and Leeds.

Year on year, the festivals team seek ways of creatively positioningeach music festival through integrated press and digitalcampaigns, amplifying this message across outdoor and

broadcast channels.

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