Marketing the MAC
A Young Arts Marketers’ Journey ◆ By Brooke Feldman
This past summer, I had just started my first real-life job working as a marketing assistant for the IU Jacobs School of Music. As the youngest in the family, this moment was my right of passage from student to professional. My previous experience with marketing was as a media relation’s specialist for a student-run production company in college. When my current position opened, I jumped at the opportunity to learn more about marketing the arts, and to help come up with innovative ways to attract audience members of all ages. When I started this job, I knew I wanted to work in the arts and market them to the public but I was naïve in thinking that everyone thought like I did.
I had been an intern with the IU Opera & Ballet Theater, developing its Twitter account and introducing the department to hashtags of the operas as well as ways to engage an audience through interactive videos. I even dressed up in a tutu promoting The Sleeping Beauty, hoping some audience member would hold their laughter and talk to me during an intermission. The Facebook accounts were popular, but Twitter was providing snapshots of people’s lives and a more personal way to network with people about music just like a conversation through text messages. Introducing Twitter as another marketing platform for the Jacobs School of Music provided a plethora of ideas to connect with a digital audience.
Now, as a somewhat seasoned marketer, I have to open up my mind to not just digital marketing, but all kinds of marketing from face to face interaction, to distribution of promotional material. I became aware of the balancing act one faces as a marketer to please long-time patrons, while still connecting with students on campus who have never set foot inside the Musical Arts Center.
Baby Boomers and the Millenials retrieve information about cultural events differently. Baby Boomers, who make up a majority of our loyal patrons, rely on print advertisements, or physical promotional material. We offer a free monthly event newsletter, Prelude, to households in Bloomington and surrounding cities. Anyone can subscribe; there is also the option to just look on our online calendar. I receive a lot of phone calls from subscribers who do not look at our online calendar asking if I can verify information on the Preludes. I also listen to their suggestions on patron relations or stories about their past experiences with Jacobs, and I do it all with a smile. These supporters have shown me the importance of the long-term relationships I can create for Jacobs by doing a little bit more than what my job description might say on paper.
Then there are the Millenials, inhabiting Bloomington for only a brief window of time. Most Millenials do not read a newspaper. Millenials look for events online through organization websites or Twitter feeds. They might be the toughest group to reach.
Do you remember sitting in the back row of a classroom, waving your hand furiously, hoping the teacher picks on you to answer the question? Marketing to non-opera goers is like that. It also sometimes feels like a big convincing game. That time you found the best band in the world, and had to have your friends listen to them, but they will not? Yeah, that’s how I sometimes feel. I try my best to explain the bursts of emotions that comes over me when sit in an opera house, but there are no words to describe the feeling.
I have been in strategy sessions and learned some clever marketing techniques. For example, to promote the opening of The Merry Widow, we created a campaign for a date night special, in which patrons can buy 2 tickets for just $20. We also created an IU Opera Club for Kids, where parents and their children can experience opera and ballet together, and receive a backstage tour. Both of these initiatives had one goal in mind: invite a round of non-goers that will hopefully become frequent audience members.
Other arts organizations are faced with the similar marketing challenges. Take the Metropolitan Opera House. In December I took a trip back home to New York City, and made plans with two friends (an opera singer and a novice opera goer) to attend a production of The Barber of Seville. To my surprise, the production was shortened and sung in English rather than Italian. I read in the program that this was a special holiday presentation for audiences of all ages. As a fan of the piece, it was a bit hard to sit through, but the Metropolitan Opera created a new way to engage new opera goers.
I work with my co-workers to help figure out new ways to entice someone to step into the MAC. Our efforts are always hit or miss; we might be able to spark a little opera and ballet light in someone who sees an advertisement, reads a review, or walks past the MAC, and we could also be perceived as just another performing arts center in Bloomington. We just hope you give the arts a chance.
“Doing a little bit more than what my job description might say on paper….”
The Ryder, February 2013