Tweet tweet
Yet another article/blog about arts organizations and their forays into online social media, this one focusing on Twitter.
While in a broad sense I agree with author Anne Midgette's assertion that "the classical music field’s attempts to be hip and draw in a younger audience are a little embarrassing, or stilted", she lost me at "I’m not sure just how many core classical fans use Twitter". I thought the whole purpose of arts organizations using these types of media was to reach people who would NOT consider themselves core classical fans?
As an outreach vehicle, it makes sense to tweet. But the problem is, many organizations assume that simply disseminating information in a tech-savvy way (and to a different demographic) will lead directly to the holy grail, bringing in "the young people"/increased ticket sales.
That erroneous assumption is apparent in the way many arts organizations tweet - "Enjoy the sounds of Mozart & Mahler 2nite @xyzsymphony". This is not going to garner you any new patrons, I assure you. Because the purpose of many of these online social engines is not "We're cool too, buy tickets!". It's more about fostering connections and developing relationships without the expectation of a tangible outcome or goal.
I tweet regularly (a couple of times a day, usually) and follow about 100 individuals/organizations, from Artsbeat (news and views from New York Times critics and arts reporters) and Tim Lefebvre (frequent bassist of Chris Botti's band) to Serious Eats (for my foodie side) and UniformProject (because I love fashion and this is just a fascinating idea, for a good cause).
I follow several dozen conductors/composers/soloists as well, and those who I most look forward to hearing from provide not information about their upcoming album release, but musings about life on the road or the fantastic wine they had yesterday or finding time to practice while their children are napping. Ironically, having a 140-character insight into people on an everyday basis (often about mundane things - "Today's lemon curd came out REALLY well") makes me feel connected to them. And when you feel privy to someone's inner thoughts, and you find those thoughts interesting/funny/thought-provoking, you might be more inclined to check out their show when they swing through town.
When it boils down to it, I look forward to logging into Twitter at the end of the day to check out what the motley assortment of people I follow have been up to/thinking/trying to do that day, and there is definitely a sense of self-created community there. Because in the end, that's the whole purpose of online social sites - supporting an exchange of ideas and fostering a sense of connectedness.
So why should arts organizations be a part of this? First, because lots of people spend their time hanging out online, and it's dangerous to not be a part of the larger conversation - and non-participation just feeds into the notion that classical music/classical art is stodgy and behind the times. Second, and more importantly, because it's simply very, very important to share ideas and forge relationships. Not just on a basic humanity level (not that I'm knocking that...), but also because when you have warm, fuzzy feelings towards someone/something, you're more likely to have a high opinion of them, feel like you relate on a personal level with them, support them in an emergency, speak well of them in public, and contribute to a positive buzz.
Positive image, accessibility, personal connection. The possibility of all this fantastic self-generated PR on a free platform. What's not to love?
While in a broad sense I agree with author Anne Midgette's assertion that "the classical music field’s attempts to be hip and draw in a younger audience are a little embarrassing, or stilted", she lost me at "I’m not sure just how many core classical fans use Twitter". I thought the whole purpose of arts organizations using these types of media was to reach people who would NOT consider themselves core classical fans?
As an outreach vehicle, it makes sense to tweet. But the problem is, many organizations assume that simply disseminating information in a tech-savvy way (and to a different demographic) will lead directly to the holy grail, bringing in "the young people"/increased ticket sales.
That erroneous assumption is apparent in the way many arts organizations tweet - "Enjoy the sounds of Mozart & Mahler 2nite @xyzsymphony". This is not going to garner you any new patrons, I assure you. Because the purpose of many of these online social engines is not "We're cool too, buy tickets!". It's more about fostering connections and developing relationships without the expectation of a tangible outcome or goal.
I tweet regularly (a couple of times a day, usually) and follow about 100 individuals/organizations, from Artsbeat (news and views from New York Times critics and arts reporters) and Tim Lefebvre (frequent bassist of Chris Botti's band) to Serious Eats (for my foodie side) and UniformProject (because I love fashion and this is just a fascinating idea, for a good cause).
I follow several dozen conductors/composers/soloists as well, and those who I most look forward to hearing from provide not information about their upcoming album release, but musings about life on the road or the fantastic wine they had yesterday or finding time to practice while their children are napping. Ironically, having a 140-character insight into people on an everyday basis (often about mundane things - "Today's lemon curd came out REALLY well") makes me feel connected to them. And when you feel privy to someone's inner thoughts, and you find those thoughts interesting/funny/thought-provoking, you might be more inclined to check out their show when they swing through town.
When it boils down to it, I look forward to logging into Twitter at the end of the day to check out what the motley assortment of people I follow have been up to/thinking/trying to do that day, and there is definitely a sense of self-created community there. Because in the end, that's the whole purpose of online social sites - supporting an exchange of ideas and fostering a sense of connectedness.
So why should arts organizations be a part of this? First, because lots of people spend their time hanging out online, and it's dangerous to not be a part of the larger conversation - and non-participation just feeds into the notion that classical music/classical art is stodgy and behind the times. Second, and more importantly, because it's simply very, very important to share ideas and forge relationships. Not just on a basic humanity level (not that I'm knocking that...), but also because when you have warm, fuzzy feelings towards someone/something, you're more likely to have a high opinion of them, feel like you relate on a personal level with them, support them in an emergency, speak well of them in public, and contribute to a positive buzz.
Positive image, accessibility, personal connection. The possibility of all this fantastic self-generated PR on a free platform. What's not to love?
Labels: contemporary culture, music and technology, stirring the pot
posted by Sarah at
9:45 AM
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