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in association with An event by Analysis "SOCIAL MEDIA IS NOT ABOUT MARKETING IT IS ABOUT CONVERSATION" > 160 international delegates ... > Albert...
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in association with

An event by

Analysis "SOCIAL MEDIA IS NOT ABOUT MARKETING IT IS ABOUT CONVERSATION"

> 160 international delegates ... > Albertina

> Hortus Botanicus Leiden

> National Galleries of Scotland

> ALTANA Kulturstiftung

> ICOM

> National Gallery of Victoria

> Antenna Audio

> icom group

> National Museum of Denmark

> Apollo Magazine

> Impact / AMA

> National Museums Scotland

> Art Natura

> Kunsthistorisches Museum Vienna

> New Land Heritage Centre

> Arts Marketing Association

> LabforCulture/The European Cultural Foundation

> Arts Quarter LLP > Ayuntamiento de Malaga

> Norwegian Museum of Science and Technology > Promuseum

> Les Arts Décoratifs

> Projekt2508

> London Calling

> Ravi bvba

> LORDcultura > Malopolska Institute of Culture

> Real Maestranza de Caballería de Ronda

> BOZAR

> Martin-Gropius-Bau

> Reykjavik Art Museum

> Brooklyn Museum

> MAS/Museum aan de Stroom

> Buzzeum Consultants

> Mattmo, Concept and Design

> RMN - Réunion des Musées Nationaux

> CAC

> Metropolitan Musem of Art

> Royal Academy of Arts

> Casa de América

> Ministerio de Cultura, españa

> Scanner FM

> Casa Natal Fundacion Picasso

> Morris Hargreaves McIntyre

> Société des Amis du Louvre

> CCCB

> Mudam Luxembourg-Musée d’Art Moderne Grand-Duc Jean

> Somerset House

> Musée Guimet

> START

> Muse Marketing Strategy

> Stedelijk Museum Schiedam

> Crafts Council

> Musea Brugge

> SUMO

> Design Museum Holon

> Musea City of Antwerp

> Tate

> Ediciones El Viso

> Musée d’Art Contemporain Lyon

> Telefonica

> EVENE

> Museo Nacional Centro de Arte Reina Sofia

> Thalys International

> Barbican Centre > Blablart > BMCultural Communications Consultancy



> Centre Pompidou > Conjunto Historico Alcazaba-Gibralfaro

> Finnish National Gallery > Fundacio Joan Miro Barcelona

> Museo del Patrimonio Municipal de Malaga

> Fundacion Escultor Berrocal para las Artes

> Museo Joaquin Peinado

> Fundacion Malaga

> Museo Picasso Malaga

> Fundacion Patio Herreriano

> Museo Nacional del Prado

De Arte Contemporane Espagnol

> Museo Thyssen-Bornemisza

> GC

> Museo Nacional d’Art de Catalunya

> Haus der Kunst > HEART Herning Museum of Contemporary Art > Helsinki City Art Museum > Historic Royal Palaces > Hopscotch



> Museo de Artes Populares Fundación Unicaja

> Fundacio Joan Miro

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> Museum Group Leiden > Museum Kunst Palast > Museum of London > Museums Association > Museums Journal

> Southbank Centre

> The Art Newspaper > The British Library > The Netherlands Museums Association > The Olympic Museum > Unicaja > Uniform > Van Abbemuseum > Victoria and Albert Museum > Western Australian Museum > Whitworth Art Gallery > Yale Center for British Art > York Museums Trust > Yuman > 1000heads

...coming from all over the world to Malaga

Iceland

Sweden

Norway

United States of America

United Kingdom Denmark Poland Luxembourg Germany Belgium Austria Switzerland France Spain

Finland

Israel

Australia

New Zealand

A BIG THANK YOU TO OUR SPONSORS...

... and our media partner

We are proud to be working with the leading experts:

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> Content

5

Objectives of the conference

6/7

The process: scan - focus - act

8/9

The experts are in the audience

10/11

Survey: digital mix

12/13

SWOT analysis

14/17

Key learnings from the World Café

18/19

Understanding behaviours

20/21

The Museum Brand

22/24

Strategic planning

25

Learning from best practices

26

Agenda

28

What the participants said

29

Social Events

30/31



Recommendations and conclusion Written by Corinne Estrada, Director of Agenda In partnership with Elishka Flint & Claire Solery

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> Objectives of the conference Agenda’s objectives: This year’s objectives for the conference were high. We wanted to engage people in active participation with the theme. We built a new and innovative format, the "collective intelligence" to enable people to share, learn and network. The method was to give food for thought, encourage dialogue, ask for feedback and motivate the community to network. Like social media! We wanted people to know more about the tools, to understand them, to learn to be open, flexible, listen, and to collaborate.

Communication CREATE

DISSEMINATE ENRICH

Conversation

Community

Introduction: Use of social media has exploded in the last few years, though the basic concept is not a new one. Incorporating social media into strategic thinking is key for all organisations, because it is where the audience spends an increasing amount of its time. Social media should not be seen as technology but more simply as humans talking to humans. It is a global and human sphere involving the museum and its community creating the conversation.

What delegates wanted out of the conference To know how to: • keep up with technological changes • how to get started • how to implement networking and social media in their strategies and their institution • keep the message fresh • carry the message in house • know what the audience likes • identify the right projects • be effective and measure results • how to stay in control Therefore, the challenges and issues of this conference were to understand why museums should use social media, and learn how museums can best use social media and integrate them into their strategy as a whole.

Event

Support

Reflect

Extend

Widest possible audience

Our digital objectives during the conference were to learn how to effectively use social media to create and deliver an expanded and enriched cultural experience to an international audience. How museums can leverage online conversations and communities to reach their marketing, business and cultural goals. According to Chris Denton from the Barbican Centre, we should enrich the conversation by supporting access before the event, reflecting the content during the event, and extend the reach after the event. This is the best way to mix audiences across genres.

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> The process: scan - focus - act An intense two day working programme innovating a collective intelligence approach

2 Global Trends: key issues Understanding the key trends in the digital and social networking market place, and what the key issues are. Why museums must wake up and take notice. Plenary session by Jerome Lascombe from Hopscotch, Paris.

➜ 3 World Café: challenges and opportunities Get to know each other exercise through the world café workshop. Work in groups of 10, participants discuss the challenges and opportunities of social media. They have to answer collectively to three questions about obstacles and key success factors for implementing a social media strategy.



FOCUS

4 Case Studies: learning from colleagues’ examples Participants join 2 sessions of case studies to learn from the experiences and best practices of their international colleagues. International experts answer a series of questions expressed by participants. The Help Centre runs simultaneously to the case studies providing hands on advice for participants on issues such as how to create a blog, what is Twitter and how museums can use Facebook pages to their advantage.

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1 Introduction: Survey - what are the expectations Participants are greeted by Corinne Estrada and chairs who share the expectations of the conference. Participants scan the results of the survey "digital mix" and set their objectives and priorities.

7 Looking Ahead The power of "word of mouth" by Molly Flat, 1000 heads, London. Conclusion by the Chairs on the key highlights of the conference.



SCAN

ACT

6 Key Learnings from vison to action - identify solutions Participants work in groups to select the key guiding principles to set up a social media strategy as they arrive back at their desks on Monday morning. Learn from the others. Each group leader presents the key learning from their table.

➜ 5 Vision and Ambition: Brooklyn Museum and Barbican Centre 2 different presentations: one by Shelley Bernstein and Will Cary from the Brooklyn Museum in New York and one by Chris Denton from the the Barbican Centre in London.

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> The experts are in the audience 2 Global Trends: key issues

3 World Café: challenges and opportunities

➜ ➜

FOCUS

4 Case Studies: learning from colleagues’ examples

8

1 Introduction: Survey - what are the expectations

7 Looking Ahead



SCAN 6 Key Learnings from vison to action - identify solutions

ACT



5 Vision and Ambition: Brooklyn Museum and Barbican Centre

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> Survey: digital mix Agenda sampled 270 managers in cultural institutions from all over the world. In March 2009 with survey monkey

1%

Rest of World

13 %

North America

38 %

Northern Europe

Where the respondants come from Sample size 268 people of whom 60 % work in organisations with less than 100 employees

28 %

12 %

Southern Europe

Central / Eastern Europe

6%

Australasia

9%

Very poor

The level of knowledge concerning social networking tools is high... Self-assessment of level of knowledge in social networks ... despite the fact that 32 % of respondants are not affiliated with any social network

30 %

46 %

Fairly poor

Fairly good

15 %

Very good

PEOPLE INTEND TO MOVE MORE AND MORE INTO DIGITAL MARKETING...

Too litle

Yes

How much money and ressources does your organisation commit to digital marketing and communications? Would you agree to reduce traditional marketing (paper, press...) in favour of digital activities?

No About right amount

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DIGITAL MARKETING IS SEEN AS A GREAT WAY TO LOWER COSTS YET TODAY, THE TOOLS THEY USE REMAIN FAIRLY CONVENTIONAL

Digital word of mouth Podcasts Blog Digital surveys

Web 2.0 tools such as social networks are not yet deployed

Online advertising Social networking (Facebook) Newsletter Email Website 0 % 20 % 40 % 60 % 80 % 100 %

very effective - fairly effective - fairly ineffective - very ineffective

Website

Most popular digital tools Websites, newsletters and emails are considered efficient tools of communication...

Newsletter Email

...Whereas sms and podcasts are not !

Social Networks Blog Digital survey SMS Podcast

Facebook

Top 6 social networking tools

You Tube

The most popular social networks used by cultural organisation

Flickr Twitter My Space Linked in 0 % 10 % 20 % 30 % 40 % 50 %

Top 5 used of social networking tools

Event promotion Brand image enhancement

Social networks are used most often to promote events

Loyalty generation Data collection Prospecting 0 % 10 % 20 % 30 % 40 % 50 %

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> SWOT Analysis Realising the strengths, weaknesses, opportunities and threats of implementing social media in a cultural organisation.

W eaknesses

S

trengths

• Museums are platforms and forums and no longer cathedrals • Social media enriches the content; museums are about telling stories which is the basis of social networking; curatorial content already present • Social media enlarges the audience from local to international • Museums are ideally placed to build participatory communities: they have fans, members, special interest groups who already follow them and can support them on social media • Social media drives traffic to the website and provides a new and rich online experience • Social media provides the organisation with a human touch: social media gives a more accessible image to the museum

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• Conservative mentality: can be difficult to get senior management buy-in on social media projects • Undertrained staff: gap between the online and offline expertise affecting the online and offline experiences • Lack of budget and necessary resources • Lack of time: inability to be present on social networks 24/7 • Poor return on investment: visibility on social media are not easily measurable • Fear to talk to and get feedback from online communities

T O

pportunities

• Grow attendance: it is where the audience is (there are more people online than watching television). Reach new audiences: identify new prospects • Raise the brand’s profile as a vibrant and dynamic organisation. Change the reputation from stuffy old establishment into modern organisation. Counteract negative publicity • Keep up with changing technology landscape: get true opinions from visitors instead of using surveys (not always reliable). Generate your own content to engage people in important discussions • Provides a new tool for education • Makes your organisation global

hreats

• Legal issues around social media: for example copyright of images, curatorial debates etc. • Overstretching resources: be careful not to do too much too soon – it is better to do less and do it well • Fear of institution losing control of information. Managing how to respond to criticism in such a public space. Danger of losing the traditional audience • Resistance: organisations risk being not flexible enough to adopt new media strategies. Lack of long term vision and understanding of the dimension of new media • Time-consuming: demands too many resources. Overwhelming amount of social networks; fear of spending too much time using them all • Changes in technology are too fast

• More opportunities for teamwork: implement new cross-departmental projects and experiences

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> Key learnings from the World Café World Café: a creative way to think about key issues - powerful tool for exchanging ideas with large groups - Unparalleled Networking

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Collective answers to three challenging questions: 1

Why is social networking a key ingredient for cultural organisations today?

> Change reputation: museums are no longer stuffy old establishments > "Pull" rather than "push" media > New ways of working: no product but content oriented > Change way of thinking from audience to communities > KPI (key performance indicators) for museums today: engaging people > A chance to listen to true opinions instead of using surveys which don’t always give the whole picture > Personalisation of the relationship between a museum and its audience > Chance to be more open and accessible, with a human touch > Museums are all about social networking in that they already "tell stories" > Can contribute to storytelling on a day to day basis > Museums need to keep up with change

2

What are the key obstacles in implementing social networking in our organisations?

> Needs a huge amount of resources and it is time consuming > No clear positioning within the organisation > Fear of shift from authority to wisdom of crowds > Museums are not flexible enough: social networking difficult to implement > ROI unknown, non-measurable results > Decision makers are too old; generational issues > Legal issues (copywrite of images etc) > Control of knowledge is a barrier to change > Silo mentality in cultural organisations

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What are the key success factors needed for adopting social networking tools?

> Have a clear overall strategy including social media > Target customers properly > Be constantly innovative > Continue over time. Long term is part of the success > Commitment: buy in and collaboration between staff and leadership > Cross department work > One to one marketing approach: "my museum" > Create physical social network as well > Mind gap between brand and online experience > Don’t let the medium drive the issue > Start small, be realistic > Be brave take risk > Just do it!

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Key learnings Strategy • Build a social media plan integrated with traditional communication tools • Choose the right network to target your customers properly • Learn from other communication tools • Demonstrate public values to the stake holders • Share the knowledge between partners • Develop a strategy linked to targets • Understand what the museum wants to achieve • Choose what not to do – less is more • Develop brand positioning

Audience • Learn to identify the audience you want to reach it is not always a large one • Target early adopters: diversify (rejuvenate) your audience • Learn from your friends – get inspiration • Presenters become publishers • Active networks of friends, repeat visitors • Become more interactive with your audience • Build personal contact with them • Use the audience to brand your organisation • Find experts, opinion leaders, fans: involve them from the beginning • Build one to one marketing vs mass marketing with social media audience

Content • Make content to engage people • Blog positively about your events • Quality: for example HD format • Be constantly innovative. One day = one idea. Be experimental • Enrich the message, encourage participation: debate and converse, invite people to participate, to react, to vote, to send feedback, photos, poems, videos, etc • Make the message clear • Enrich the message: talk about what’s behind the scenes of the collection • Become a platform for a community • Communicate with passion

Staff • Find advocates in your organisation • Choose one voice in your organisation to do the update • Take time to develop people’s skills in social media • Make people engaged and responsible within the organisation • Work between curators and marketers • Give feedback from social media to curators • Change attitude and behaviours of the organisation • Work with IT people • Convince curators • Educate your staff, train them • Develop cross department works and collaborate with leadership • Hire new young people and invite new profiles on board • Develop an evangelist mentality • Don’t write-off the older generation who use social media in a different way

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> Understanding Behaviours By Molly Flat WOM* evangelist at 1000 Heads In "Shattering the museum monologue" Molly explained how engaging with visitor word of mouth is the future of museum advocacy. Museums are conversations in themselves - forums for cultural collision and collaboration - but all too often they talk at their audiences without listening to what they really want. When peer to peer conversation is determining where people choose to spend their attention, money and time, museums need to becreating conversational experiences and maintaining dialogue with their public in a sustained and inspiring way. The following 3 graphs demonstrate how global word of mouth specialists 1000heads amplify positive WOM forclients such as the V&A , by identifying the passions and motivations of relevant social media users, listening towhat they want, and designing collaborative experiences which inspire vocal loyalty. * wom = word of mouth

SUSTAINED POSITIVE WOM

Dedicated activity to accelerate WOM

A consequence of marketing impact

Amplified WOM People inspired to involve brands in their social interactions on a sustained basis

Consequential WOM Organic WOM

Natural Customer expérience

Sustained consumre engagement Brand narratives Articulaition Creative triggers Personalised experiences Marketing activity Advertising DM Telemarketing Outdoor Digital POS Design Non interventional

16 % of consumers trust corporate blogs 18

UNDERSTANDING BEHAVIOURS Expert / Guru Knowledge is power. I know more about this subject than anyone. Ask me for advice Newsbreaker I need the scoop. Other people rely on me

Evangelist I want to share in the brand. I want others to feel my passion

WORD OF MOUTH

Experimenter I like using social media in pioneering ways. I can take you to new places

THEPROCESS PROCESS THE

Detractor I want you to share in my misery so you learn not to make the same mistake

WOM Audit Creative process

Articulation





Brand narrative

Sensory manifestation Consumer conversations Measurement and analysis

60% trust consumer product ratings/reviews Forrester Research – Dec 2008

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> The Museum Brand Your brand is not just a logo it is a perception that people have of your organisation

g sin Ad

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rti

tio

llec

Staff

Co

Ev

en

ts

ia

ial

c So

Website

d me

Publications

Museum Brand

Edu

cat

ogo

L

Spo

nsor s

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Buildi

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ion

Challenge For those responsible for museum brands, the opportunities that social media provide come with new challenges: how can you control your brand in a space that offers little or no control? Nobody needs to ask your permission to talk about your museum on a blog or tell a friend about an exhibition on Facebook – positively or negatively – your brand is already in this social media space

Action You can’t control the conversation but you can participate in it. Your first step in taking your museum and your brand into social media is to learn about these websites and most importantly how your audiences are using them. Each website has a different set of unwritten rules and spending time looking and listening helps you get into them. For example, google the name of your museum, and see who’s talking about you on the first 10 links recommended. Jumping into websites like Facebook, Twitter and Flickr without understanding how these spaces work can be damaging to a museum’s brand, because it projects the image of an institution who can’t be bothered to learn how a space, which is important to its audience, works. Therefore, we need to adapt our brands and our behaviours to exist in this online world.

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> Strategic planning The strategic plan exposes the best practices of return on experiences that delegates heard in Malaga

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"Creating Community" Shelley Bernstein and Will Cary, Brooklyn Museum, New York

A successful example in creating, managing and growing a museum’s community on and off-line. The Brooklyn Museum’s strategy follows principles and choices that are to be followed daily:

Strategy

Actions

> Create spaces

Combining online and offline experience is a simple way to really value visitor’s input and create a two-way relationship.

Graffiti wall at the Brooklyn museum tagged by visitors and photos have been posted on a weekly basis on Flickr.

> Involve visitor’s

Enriching the visitor’s voice around an exhibition is a valuable source of reflexion for the museum.

Creation of the YouTube Channel for the Black List Project exhibition to enable visitors to post video responses about how they felt about issues raised during the exhibition.

Offline rules of conversations apply to online conversations. If you ask a question, it is important to listen to the response and consider ways in which to make the visitor experience better as a result. This can often mean welcoming both good and bad feedback and ensuring the visitors have a way to express themselves, so the conversation can begin and continue.

Brooklyn Museum has replaced all paper comment books with electronic versions so visitor feedback can be reviewed easily by internal staff and other visitors via the web.

community

Developing an important volume of conversation has allowed visitors into the behind the scenes life of a museum. The community respects the institution and encourages other institutions to do it.

Brooklyn Museum has created a safe space for visitors to interact. Trust is a two way street.

> Be transparent

The Community manager’s role is to engage in conversation that is as honest and open as possible, hence the need to be transparent and to share both good and bad news and feedback.

Brooklyn Museum disclose who’s representing the museum on any online channel by telling visitors both who this person is and what they do at the museum.

The choice made by the Brooklyn Museum is to remain open online 24/7 instead of a "9 to 5" pattern.

The community manager at the Brooklyn Museum can react immediately to inquiries which can occur during the week end.

of expression

experience

> Ask and listen

> Trust your

> Open 24/7

> Change the 22

Methodology

membership structure

Offering many more advantages via the Brooklyn’s online community it thus targets a different audience

Creating a network of "1st fans" offline community, the "Target First Saturdays", gathering local and international members through discussions on "Twitter Art Feed"

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"Creating a social media plan for a museum" Jim Richardson, Sumo Newcastle

During a few days at "Communicating the Museum" in Malaga; it became apparent to me that the participating institutions understood the need to take advantage of the opportunities that social media spaces had to offer them to engage with their audiences, and many delegates said that they intended to create a social media plan.

Five step social media plan Our five step social media plan is roughly based on the structure proposed by Aaron Uhrmacher on the website "Mashable" last summer. These steps are:

1 Stop, Look & Listen I think it’s important that before you take your museum into a social media space that you take time to understand the websites that your audiences use before you do anything else. Each website is different and users interact with each other in different ways. It would be easy for your museum to look like it ‘didn’t get it’ or like you were just there to sell your "product" if you stumble into websites like Facebook or Twitter without knowing the unwritten rules of these spaces. So, your first step in taking your museum and your brand into social media is to stop! Don’t start setting up museum pages on every social network you can find. Instead take the time to learn about these websites and most importantly, how your audiences are using them. To find these conversations we use this tool "Social Media Firehose" which brings together search results from across the social media landscape. Once you know which websites you are interested in learning about the next step is to sign up for an account. I would recommend you do this as an individual rather then an institution until you get to grips with how things work. Each website has a different set of unwritten rules and spending time looking and listening helps you to get your head around them, and starts to change the way you think. You will start to realise that now everybody is able to create content, distribute content and control their own user experiences and consider how a museum can fit in to this. In many ways this is the most important stage, because too often museums jump in without understanding the way that these networks really work. Right now Twitter is full of museums broadcasting events listings and press releases and in doing so they make themselves both as brands and institutions seem distant and uninviting. It is obvious to the communities who exist in this space that these institutions just don’t get it. For me the organisations who have succeeded most across a diverse range of social media platforms are the ones who have taken time to understand how things work. These are the organisations who are adding value to their brands through social media.

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2 Goals It is important to start with goals rather than technology, because the social media space is filled with cool tools, the next big thing and that site you have to be on. It would be easy to waste a lot of time if you jump in without asking yourself why. TATE and the Brooklyn Museum; two organisations who are well known as leaders in the field of social media both say that they base their goals on the mission of their organisations. TATE for example aims to "increase understanding and knowledge of art", and while they may choose to use MySpace or Flickr to reach demographics such as young people, they do this with this mission in mind. Having goals which align with the overall mission of your organisation also makes it a lot easier to get buy in from your management and trustees than chasing the latest technology.

3 Strategy Now that you have a goal in mind you need to determine the right strategy and social media platform to achieve it. I would recommend that you start small, concentrating on just one website or social media platform, until you find your feet. The listening exercise that you will have done should have identified the best place to start, it will be somewhere that your audiences or potential audiences spend time online, and a space that you now feel comfortable that you understand. I would also recommend that you take time to think about how your audience are likely to want to get involved. For example a 16 year old and a 60 year old will both participate in social media but in very different ways. A useful tool when considering this is the "ladder of participation" developed by Forrester research as part of their excellent book Groundswell. I recently worked with the Laing Art Gallery in the North of England to develop a social media strategy where the goals were to try and spread the word amongst twenty something’s that the gallery had a really diverse and interesting collection, to increase awareness and to change the perception that the gallery is just for older people. We decided that Facebook would be the best social media space to use because of the age of the target audience. Our strategy was to create a Facebook application which anyone could add to their profile which would show a different piece from the gallery’s collection every day. (I should mention that this widget was influenced by similar applications developed by both the Rijks museum and Brooklyn Museum.) The Laing Art Gallery "picture of the day" application was launched virally, with museum staff adding it to their own profiles and over the next month usage grew slowly. With every new user signing up for the application, we virally spread the word about the gallery to their friends, and with the average member on facebook having 120 friends, it’s reach extended to tens of thousands of people very quickly. The Laing Art Gallery facebook application was automated so needed no management once it was launched, but people and how much time they can dedicate to your social media

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activities are a major consideration and you need to think about this at this stage. A quick search finds many museum Facebook pages which lie out of date, because someone just doesn’t have the time to keep updating it. I would argue that this is more detrimental to the brand than not having a presence there at all. The time that a social media project can demand of you is another reason why it is important to start small and not try and do too much too soon. The final thing to consider when preparing your social media strategy is how you will respond to comments from your readers. It is worth figuring out who has the authority to reply to these, how you should engage with people, and more importantly discuss the tone of voice that any replies need to be in. I personally feel that responding to comments about your museum will show that you’re listening and that you want people’s opinions. This will build trust and social capital in your brand with your audiences. It is a difficult line for a museum to walk – you want to be active in social media spaces and to do that you must reconcile the human-to-human informal conversational style of these networks with the fact that you are large institutions who can’t just let everyone say what they want. But museums are of course not alone in this, many large corporations are active in this space and have rules of engagement to try to minimize the chance of going off-message. One constant rule is that people should try and "sound human" and engage people on an emotional level. I believe it would be much better to be come across as the cool person who works at the museum rather than the institution. Being a real person, rather then trying to be the institution is more authentic and if you make a mistake, you’re only human.

4 Launch With your planning complete, you’ll be ready to launch into the world of social media this could be on any number of websites and could be as small or ambitious as you wish. While this may be a new space for you, some old rules do apply, you wouldn’t open an exhibition without marketing it, and your social media plan should include how you will make audiences both inside and outside your organisation aware of what you’re doing. Don’t operate in isolation from the rest of your organisation, make sure everyone is aware of what you’re doing, and keep them up to date with small wins. Social media is often misunderstood and communicating success is essential to validate the effort that you’re putting in. When people start to understand what you’re trying to do, they will hopefully come to you with suggestions of how your social media activity can work with areas of the organisation they are involved with.

5 Monitor With your launch complete you should monitor your progress against the goals that you set at the start of your project, and consider changing course if things don’t seem to be going as planned.

> Learning from best practices Other examples of best practices from the case study sessions "It’s time We Met": building a marketing stratey around new media Elyse Topalian, The Metropolitan Museum of Art, New York How to involve young people: The first MPM online experience Pepa Babot and Ana Gonzalez, Museo Picasso Malaga, Malaga

Visitors’ attitudes towards the content of museums and galleries’ social networking sites and actions that might be taken as a result Simon McQuiggan, Muse, London Museums and Web 2.0: The MuseoThyssen.org new strategy Javier Espadas and Guillermo Miranda, Museo ThyssenBornemisza, Madrid

Making your brand social Jim Richardson, Sumo, Newcastle Reaching out to new audiences inside and outside the museums’ walls Sarah Dines and Rémi Carlioz, Antenna Audio, London and Paris Communicating through ambassadors: Why and how Catherine Mussely, BOZAR, Brussels

Guerilla Marketing: Museo 2.0 Bruno Sokolowicz, ScannerFM, Barcelona Creating online communities Monique Mulder and Paul van Ravestein, Mattmo concept and design, Amsterdam

> For more return on experiences, visit our website: www.communicatingthemuseum.com/synthesis Full synthesis and powerpoint presentations from Malaga available.

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>

AGENDA is an international communication agency specialised in the arts



MISSION

EXPERTISE

SKILLS

CLIENTS

EVENTS

To increase awareness

We have launched

We have business and

We are proud to work

Agenda has initiated

To raise profile

over 500 campaigns

intellectual expertise

for international and

three international

To improve positioning

in various fields:

to conduct:

prestigious clients.

events dedicated

Among them:

to the art world.

To generate attendance

• Classical art

• Press campaigns

To build partnerships

• Contemporary art

• Marketing campaigns

To develop networking 

• Decorative arts

• Distribution campaigns

• Design

• New media campaigns

To get media exposure

• Fashion

• Guidebook studies

• Heritage

• Familiarisation trips

• Literature

• Training

• Modern art

• Events

• Music • Photography • Tourism

We organise every year: Our permanent accounts • The National Gallery London, since 1995

• Tate London, since 1997

• Victoria and Albert Museum London, since 1999

Communicating the Museum The leading international event about communication dedicated to museum professionals www.communicatingthemuseum.com

• VisitWales Cardiff, since 2001

• Europalia Festival Brussels, since 2007

We launch major openings: • Tate Modern London, 2000

IMCA Awards The international awards to reward the best visual identity of museums – 18 awards www.imca-awards.com

• Dulwich Picture Gallery, London, 2000

Created in 1995 Dedicated to museums and destinations Based in: Paris, Barcelona, Milan, Berlin, London

• Mudam Luxembourg, 2005

Cities and destinations

Culture Business The international forum for the economic development of arts organisations

• Wales

www.culturebusiness.net

• Musée Soulages Rodez, 2012

since 2001

• Region Piemonte 2004

• Luxembourg, capital of culture 2005

• Malaga since 2007

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N O T J U S T B O O K S . A RT B O O K S A R E W H AT W E D O The Metropolitan Museum of Art, Museo del Prado, Guggenheim Museum, Museo Thyssen-Bornemisza, Museu Calouste Gulbenkian, Staatliche Kunstsammlungen Dresden, The Hispanic Society of America . . . These and other institutions have entrusted us with 1,048 exhibition catalogues over the last 29 years. Would you like to know more about us?

w w w. e d i c i o n e s e l v i s o . c o m

> What the participants said Practical implementation I had a great time at the conference, it has been hugely beneficial. I had planned for our marketing team to redo our marketing strategy, the conference has given me the confidence to make it more radical and centred around social media.

Out of the ordinary I thought that the event was excellent and everyone involved seemed to really go out of their way to make it a memorable occasion.

Newcomers You all did such an excellent job. As a "new comer" to the conference (and the first ever from Israel :-)) I felt welcomed and I really appreciate the personal contact that we’ve shared.

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New ideas Well a massive thank you to you all for making it such a valuable and enjoyable four days, you worked so hard and the care and attention to detail really showed. The participants were a great mix and I learned a lot so it was a real pleasure to attend, not to mention the extraordinary cultural opportunities.

> Social Events

Gala dinner at Gibralfaro Castle Agenda’s Dream Team

Concert at Sala Maria Cristina Farewell cocktail at Museo Picasso

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> Recommendations and conclusion Agenda’s point of view Our perceptions and impressions from Malaga

The potential: a global and highly sophisticated new audience Technology is dramatically changing what the public expects from a cultural experience. Internet users are a sophisticated audience. They come to demand a more personalised and interactive experience online with better quality images and video broadcast in high definition. People are watching your programmes via the internet 24 hours a day and all over the world. All this gives cultural institutions the chance to give their visitors an expanded and enriched cultural experience.

Inevitable change to the organisation Unanimity on the imperative and immediate change within organisations. In order to survive, the organisation has to adapt to the new technologies, to the new customers’ technologies. We have to use their way of communication in order to remain attractive to them at all levels. To fully embrace the potential of social media and its new challenges, the work process has to be developed across departments of the organisation, between marketers and curators.

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The analysis of SWOT Social media obviously provides a vast scope of opportunities in the long run and that threats and weaknesses are problems (resources, control, return on investment) to cope with in the short run. The potential of social media is huge: to grow attendance and revenue, create awareness of a new exhibition or existing permanent collection, identify new prospects, create a vibrant and dynamic image of your organisation, drive traffic on the website and enrich the cultural experience.

Malaga’s hero was Twitter We realised how fast, focused, reliable, targeted, and professional, Twitter is as social media tool and is an important added value for arts organisations as it enriches the messages and extends the reach. Twitter is perfect for WOM (word of mouth). It is about being authentic and being passionate. WOM is not about bombarding people with messages but targeting precisely which conversations to engage in and with whom. While in Malaga, the Agenda’s team "tweeted" about the talks of the conference and reached a captive international audience of 60 museum professionals worldwide.

The social media kit • Stop, Look & Listen – Have goals - Prepare - Launch – Monitor • Always start with listening to online conversations and identifying influencers • Ensure that your online activity corresponds to your offline and corporate goals • Embrace niche markets and develop segmentation strategy • Focus on topics rather than people • Exploit videos, photos and audio that has been created by your audience or indeed by you • Court online influencers: read their work first, organise online events, don’t buy them • Follow your online actions and keep it fresh

Build and manage your community • Give people a good reason to join and make them feel special • Make it simple to join • Humanise the interaction • Don’t be a control freak • Engage, don’t sell Remember that social media is not PR • Form long term relationships

Going ahead Cultural institutions now need to fully embrace technology and drive this conviction through the whole organisation. We all understood from various presentations that it is important not to rush into using online technologies but develop a clear strategy. Less is more.

In conclusion "I am impressed by the quality and professionalism of art organisations which are already very committed to social media. Probably more than any other industry, and with a lack of resources most of the time, museums have been very quick in updating their communication tools and integrating social media into their global strategy. They fully appreciate the potential and opportunities that social media represent to enrich the cultural experience of their visitors. The Malaga Conference has been a success in understanding the vital role of social media for arts organistations." Corinne Estrada, director of Agenda

The successful format of this year’s conference Participants worked together very actively to express their needs and expectations for communication tools. This new approach is called "collective intelligence", and focused on working sessions, enabling participants to identify the issues and work jointly on solutions. Although coming from many different countries and cultures, they were all motivated by the same objectives: how to make social media work efficiently and how to integrate it in the global strategy.

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Training on social networks Theme • Trends, content and process • 1 December 2009, Paris

2nd CultureBusiness Forum

Theme • Social responsibility and cultural sponsorship • 10 December 2009, Paris

10th Communicating the Museum Conference

Printed September 2009 • BRIZZOLIS, arte en gráficas • Depósito Legal: M-40523-2009

Agenda’s upcoming events and training sessions dedicated to arts professionals:

Theme • The next generation: how to love culture • 30 June - 3 July 2010, Vienna

2nd IMCA - International Museum Communication Awards

Awards ceremony • 30 June 2010 Vienna

31 rue Ballu, 75009 Paris, France Tel: +33 1 49 95 08 06

www.agendacom.com www.communicatingthemuseum.com

samourai.fr

> Conference programmes and details of training sessions and events on www.agendacom.com

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