Data is one of the most powerful tools you can use in arts management to increase patron retention. But how do you know which metrics to track? How do you find the time to stay on top of key performance indicators?
Over several years of experience, from my first job at the Seattle Symphony to becoming an executive director and developing the 'Long Haul Model', I can now identify the main, underlying problem most arts organizations run into when thinking about their data. And I brought in some folks to help me talk about it.
In this bonus episode, I interview special guests Sune Hjerrild and Jan Pilgaard Carlsen, co-founders of Artelize, a company that eats, sleeps, and breathes using data in the arts. We talk about how to harness your data to retain more patrons, what key metrics are important to monitor to know if your retention efforts are working, and why most CRMs make patron retention challenging, either because extracting the data and reports you need is tricky, or because it just takes too much time - and what to do about it to make it a million times faster.
Tracking and understanding your data doesn’t have to be a pitfall for your organization. Enjoy this special bonus episode to carry you through until the podcast starts again this fall.
Resources:
The Long Haul Model article
Rethinking Audience Engagement Panel Hosted by Artelize
#datascience #datamanagement #artsmanagement #aubreybergauer
ABOUT THE OFFSTAGE MIC
Arts and culture is a big business- now a $1.02 trillion sector whose 100,000+ organizations serve almost every community in the nation.
This podcast is about running that business: how to grow audiences, develop high performing teams and leaders, get younger attendees in the seats and on the donor rolls, apply strategies working in other sectors, and generate more revenue, all in order to serve the mission and flourish in a changing world.
ABOUT AUBREY BERGAUER
Hailed as “the Steve Jobs of classical music” (Observer), Aubrey Bergauer is known for her customer-centric, data-obsessed pursuit of changing the narrative for the arts. A “dynamic administrator” with an “unquenchable drive for canny innovation” (San Francisco Chronicle), she’s held offstage roles at major institutions in Seattle and San Francisco, and as chief executive of the California Symphony.
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