Resources by Penny Mills
Five segmentation steps
You’ve done some database mining, audience profiling or primary research and observed patterns that indicate audience groups you’re interested in, giving you the bones of a segmentation model. The groups have passed the first tests of segmentation – each is distinct enough and reflects shared needs and a common response to an offer. So, what next? This article suggests how you can colour in your sketches of each group, engage your colleagues in recognising them and keep your segmentation live and relevant. We consider two kinds of segments and describe the steps you might take. Included are some quotes and examples from Sound and Music (SAM), a contemporary music organisation, combining producing, programming, information and services.
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Benefits-led marketing and collaborative working with London orchestras
Tackling such questions as ‘How can we help audiences to see more orchestral music in London?’ brought a group of London orchestras and venues together to form the London Orchestral Marketing Consortium in 2008. By interrogating shared box office data through Snapshot London Performing Arts initiative, and combining their experience and know-how, they have learnt how to work together effectively and have been testing out new collaborative approaches for growing audiences.
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Creating an app to increase engagement and grow audiences
The London Orchestral Marketing Consortium worked with developer Kodime to create an app, Student Pulse, which combined paperless ticketing, a loyalty scheme, social sharing functions and geolocation services.
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Regional audience and visitor profile in the Black Country
Organisations can learn a lot about their current and potential audiences through profiling. This project uses data from eleven different organisations in the Black Country to identify and understand the arts engagement behaviour of audiences across a common catchment area. It identifies hot spots of cultural engagement which could be further penetrated, as well as demonstrating the potential for audiences who are not currently attending or participating - but have a propensity to do so.
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