About Forum 08 | Breakouts
Hans de Kretser, Hans de Kretser Associates
Pat Kane, Hue and Cry
Richard Hadley and Yolande Melsert, Audiences Europe Network
Faith Liddell and Martin Reynolds, Festivals Edinburgh
Gerd Leonhard
Brian Newman and Hannah McGill
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Hans de Kretser is a consultant specialising in online and digital marketing for arts organisations. He provides strategic thinking and practical solutions for web site management, email marketing, as well as other new media. Over the last 15 years, Hans has worked for English National Opera, Sadler's Wells , and M+H Communications Ltd (Head of Digital Marketing) where he developed a variety of online marketing skills and built up a network of specialist suppliers and web developers who he continues to work with as Hans de Kretser Associates |
Today, he works for a diverse range for arts clients including various arts marketing agencies, BBC Worldwide, British Film Institute, the Greater London Assembly, Cheek By Jowl, Dance Consortium, DV8, Edinburgh Festival Theatre, Royal Northern College of Music, The Ticket Machine and the Scottish Theatres Consortium to name a few. He has also worked on Mamma Mia!, Cabaret, Thoroughly Modern Millie and other West End shows.
E-marketing e-ssentials
What you need to know for effective e-communications focusing on e-mails, flyers and newsletters. From building your e-lists, to constructing your messages, to monitoring the success of your campaign, this session was a step by step guide looking at a examples from across the sector to see what techniques are being used and what you can do to increase the response rates to your communications while also looking at the important must-do’s to making sure your messages are accessible and following best practice. The session also looked at the role of emails in a world of Social Networking, Instant Messaging, Instant Messaging and Web 2.0.
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Pat Kane is a musician, writer, and ideas consultant based in Glasgow. One half of his career has been in music - establishing Hue And Cry with his brother Gregory in 1987, with a new album Open Soul out in September 2008. And the other half has been in journalism, consultancy and activism - author of the highly acclaimed book on technology and culture, The Play Ethic (Macmillan, 2004), a founding editor of the Sunday Herald and commentator on cultural and Scottish affairs for all major UK media outlets. |
Performance 2.0: What's Plentiful, What's Scarce - And What To Do Next! Exploring the new relationship between networks, content, and live performance
There's a story that some artists and performers tell about the rise of digital networks that's uniformly negative. "They allow our art to be stolen! They keep our audiences indoors! Their ethos of 'everything for nothing' destroys the idea of copyright, artistic revenue, and fair reward!"
This is more than just wrong - it's in danger of missing one of the greatest opportunities for performing artists that have ever arisen. Representations of performance (whether studio-forged or live-recorded) are now available everywhere, and seemingly forever falling in price towards the zero point. But rather than take to the ramparts, we could turn the situation round. Why not use what is ubiquitous (recorded culture), to drive people to what is scarce (the actual performance, or the unique object)?
If the "live experience" is now the only reliable space for the commercialisation of culture, then how should artists and promoters respond to this? How can the Net, and social networking tools in particular, be used to establish a new relationship between the work of the artist, and the enthusiasm of the fan - and develop a new range of commercial transactions that can occur between the two?
And is there even a new, more open and participatory role for the artist and performer within these networks - one which might challenge classic ideals and assumptions about 'being an artist/performer'?
Pat Kane conducted a break-out session exploring these issues, and brainstorming some solutions to the challenges of Performance 2.0.
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Richard Hadley is a UK based independent consultant, trainer and festival/events producer, Rich has a 20 year track of achievement in the cultural sector. A clear thinker, good communicator and popular trainer / facilitator, he has extensive experience in helping organisations articulate their aims and aspirations, shape their plans and translate these into constructive outcomes. Most recently he has launched a new flamenco festival at the prestigious Birmingham Town Hall via his production company ‘Emoción’. |
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As a founding member of Audiences Europe Network, he has delivered many successful conferences and seminars throughout Europe over the last five years in addition to major seminars on diverse topics including Ayslum and Refugee Support, Cultural Tourism and Festival Management for Arts Council England, Learning and Skills Council (UK) and many Local Authorities. Prior to this, Rich ran marketing:arts, an award winning audience development agency which pioneered customer data warehousing and analysis as well as the UK’s first B2B+B2C cultural portal. Earlier in his career he worked in advertising, and later in as head of marketing in economic development in the UK’s largest local authority.
Among his professional interests, is a desire to help cultural organisations open up to change – enabling them to thrive in a climate of collaboration and knowledge exchange. Richard has worked throughout the UK and overseas with clients ranging from the Government of Mexico and University of Hong Kong, to the Arts Council of England and Heritage Lottery Fund in the UK.
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Yolande Melsert graduated at the University of Amsterdam in both Language & Literature (1984) and Theatre Studies (1989). She worked as, among other things, a dramaturge with several Dutch companies. From 1991 to 1997 she worked as a consultant in dramatic theatre at the Research & Development Department of the Dutch National Theatre Institute (TIN) with a focus on internationalization and promotion of Dutch-language theatre productions and Dutch playwrights. |
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From 1997 to 1999 she was head of the education department of the Zuidelijk Toneel theatre company. In 1998-2001 Yolande was dramaturge/producer of radio drama and editor-in-chief of arts radio programmes for the national broadcasting company NCRV. From 2001-2003 she was head of the marketing & promotion department of the Toneelgroep Amsterdam theatre company. Since 2003 (October), she has been Chief Executive of Bureau Promotie Podiumkunsten (an organization concerned with promotion of performing arts and audience development).
You Have to Share Before You Multiply
Exploring the theme of working together, expert colleagues from Audiences Europe Network Yolande Melsert (Netherlands) and Richard Hadley (UK) shared their international experiences of cross artform collaboration, particularly in exploiting new technology for audience development. This included examples from Scandinavia, Catalonia and Rotterdam.
Yolande and Richard investigated what are the barriers to effective joint working in ICT: what’s worked, what’s failed and why.
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Faith Liddell is an experienced director, producer and project manager who has worked in key strategic and creative roles across theatre, literature, music, film and visual arts for the last fifteen years specialising predominantly in the creation and development of festivals and festival-based programmes. |
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In January 2007 she took up the role of Director of Festivals Edinburgh, a new organisation designed to take the lead on the joint strategic direction of all 12 of Edinburgh’s major festivals and to sustain Edinburgh’s pre-eminence as the world’s leading festival destination.
Her freelance work has included Project Management for the National Short Story Campaign and Prize and producing for the National Theatre of Scotland. Other roles have included Director of DCA, Scotland’s leading centre for contemporary art and film, Project Manager for the Scottish Playwrights’ Studio Development Project, Director of the Edinburgh International Book Festival and Marketing Manager for the Edinburgh Festival Fringe. She is a Trustee of the Dewar Arts Awards and a Director of the New Writing Partnership in Norwich.
Martin Reynolds has 10 years strategic marketing and brand management experience with international, high-profile cultural organisations. Most recently, he was Marketing Manager at the Sydney Opera House. During his tenure, the organisation broke significant attendance and revenue records at the box office: with the highest ever attendance in Opera House history for Le Grand Cirque; and the Opera House's highest ever grossing show (Matthew Bourne’s Edward Scissorhands). Before that, he was Head of Marketing at the National Galleries of Scotland, where he created and delivered audiences, revenues and profile for this major institution. This included devising a number of strategic innovations and projects, such as iPod exhibition tours with Radio 1 DJ Edith Bowman and midnight opening for the immensely popular Ron Mueck exhibition. His career in the arts started at the Edinburgh Festival Fringe in 1998. By 2000, he was running the Fringe's Press and Marketing team, implemented the Fringe's award-winning re-brand and launched the Festival's first ever on-line ticketing operation.
Developing New Approaches to Collaborative Working and Joint Festival Marketing
In this case study based session, Faith and Martin discussed Festivals Edinburgh and its Marketing Strategy, reflecting the key themes of the Forum.
Festivals Edinburgh is about to embark on its first major cross-Festival collaborative project with the launch of its joint Marketing Strategy and Plan, supported by the Scottish Arts Council. A first of its kind, this project draws on the vision, expertise and leadership of Edinburgh’s Festivals. Principal aims include building on their strong reputation as a ‘must visit’ international cultural experience, significantly raising awareness globally and attracting new visitors. The strategy is additional to each individual Festival’s own marketing campaign and enables the Festival city to promote itself and its Festivals to a much wider audience.
With combined funding from the Scottish Government Expo Fund, the City of Edinburgh Council, EventScotland and Scottish Enterprise, this project will develop new ways of joint working and cross-promoting one of the world’s strongest cultural products.
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Zurich based Gerd Leonhard is one of the world’s leading media futurists, and an inspiring motivational speaker, as well as an artist and musician. Gerd will address how the broadband-enabled, always-on world of digital natives equipped with 4.5 billion mobile devices impacts on emerging cultural practice. |
Keynote Up Close
In this Up Close session, delegates had the opportunity to discuss further with Gerd the issues, themes and questions raised by his keynote presentation.
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Brian Newman is CEO of the Tribeca Film Institute (TFI) in New York, the result of the recently announced combination of Renew Media and TFI, the nonprofit arm of the Tribeca Film Festival. TFI is dedicated to innovation in film and media, the enrichment of audiences and the promotion of education, understanding and creativity through the media arts.
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Hannah McGill is the Artistic Director of the Edinburgh International Film Festival. As a critic and columnist, she has contributed to numerous publications including The Scotsman, The Herald, The Times, Uncut, Time Out, Art Review, The Guardian and Sight and Sound. She is also a published writer of short fiction and drama, and has had both plays and short stories broadcast by BBC Radio 4. As a broadcaster Hannah has contributed regularly to arts programmes on BBC Scotland, BBC Radio 4 and the BBC World Service. She has also lectured in Film Journalism at the University of Glasgow. |
Hannah served as Programme Consultant to Shane Danielsen during his five-year tenure as Artistic Director of the Edinburgh International Film Festival, and took over this post in September 2006.
Keynote Up Close
In this Up Close session, delegates had the opportunity to discuss further with Brian and Hannah the issues, themes and questions raised by this keynote presentation.
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