For many arts organizations, the CRM sits at the center of audience strategy. It holds ticket buyers, donor records, campaign history, and years of accumulated
Category: Digital Program Book
In many organizations, decisions about program books are not made explicitly. They evolve over time, shaped by experience, internal preference, and a series of assumptions
Every year, arts organizations go through the same exercise. Surveys are drafted, distributed, and chased. Reports are compiled. Data is packaged for boards, funders, and
There is a moment in many program book conversations where the same assumption surfaces: “We have to print program books anyway.” In many cases—especially with
Most arts organizations operate with the belief that they have a clear understanding of their audience. Ticketing systems provide detailed reports on who purchased seats,
Most arts organizations feel like they have a decent handle on their audience. There are reports to review. Campaigns to measure. Attendance to track. On
Arts organizations are not short on data. They have ticketing reports, campaign metrics, donation summaries, and attendance trends. In many cases, they have more data
Ticket sales tell you who showed up. They do not tell you what mattered. A core insight from McKinsey’s research on arts institutions is that
Arts organizations don’t suffer from a lack of passion. They don’t lack creativity. They don’t lack commitment. What many lack is confidence with data. A
There’s only one audience segment that truly matters: people who have already bought your tickets. Everyone else, broad arts interests, 30-mile radiuses, “theater lover” demographics