Digital Culture 2019 is a new report on the impact and use of technology in the arts and culture sector, from Arts Council England and Nesta. While focused on England, it offers some interesting insights as well as trends over 2013-2019.
This finding caught my eye: “Digital technology is not having a greater positive impact on audience development objectives than in previous years, and the impact of digital on reaching international audiences has fallen from 33 per cent of organisations reporting major impact in 2013 to 28 per cent in 2019.“
A long read for the weekend or browse the highlights; there are also fact sheets per art form available to download: Digital Culture 2019
New Perspectives on the diversity of Hospitality, Tourism and Events
Last week I had the opportunity to facilitate a breakfast workshop themed “Audiencing” at CAUTHE 2020. It was great to discuss perspectives on audiences from my practical experience in the cultural sector with academic researchers in hospitality and tourism from around the world, an area I don’t usually interact with. Many thanks to Dr Sandra Goh and Dr Tomas Pernecky, Faculty of Culture and Society at AUT.
I took the opportunity to attend a few sessions on “Eventful Placemaking”, where current academic research projects were discussed. There was an interesting cross-over with the arts and the role of art festivals, arts precincts and major events in placemaking. These research projects take a practical approach useful for cities and cultural organisations (and rightly challenged my own bias that academic research is – well, academic). I’m sure I’ll have some more conversations with Sandra about some of these projects.
A highlight was the key note by Alison Phipps, UNESCO Chair in Refugee Integration through Languages and the Arts at the University of Glasgow.
She opened the conference with a mind-opening keynote both for content and presentation. With “Inhospitable hospitality” Alison Phipps challenged the hospitality community to look at the extreme end of hospitality. Rather than glamorous events, she considered hospitality as experienced by seekers of refuge. She asked “Who decides and where are those decisions made on what constitutes hospitality and what it means to be hospitable?” and challenged us with examples of hospitality, or rather inhospitality, offered to refugees in various parts of the world, which are often prison-like experiences. She suggested that the “refugee crisis” in Europe is actually rather a “hospitality crisis” given the wealth of the continent and the fact that only 15% of global refugees are in the global North (incl. N-America). She asked what this tells about the human condition and the work of the hospitality industry. With the hospitality at airports, hospital and universities also often prison-like, she challenged the industry to find ways to inject a sense of life and empathy into its language, its occupation with efficiency, numbers, project management and logistical systems. Part of hospitality is “overcoming fear”. She offered the arts as a way to re-imagine hospitality, and left the audience to think about what “beautiful, captivating story of hospitality” it could design.
And beautiful and captivating was her keynote, interjected with images, quotes, poetry, music (including herself singing) and personal stories from refugees and her own family – not quite the typical conference slide presentation and an unexpected and thought provoking angle on hospitality, or what in my area of work is called the visitor experience.
5 questions the new Air New Zealand CEO asks his staff
Air New Zealand’s incoming CEO Greg Foran seems to think all of the organisation’s staff should do so and plans to use staff’s responses for developing a new strategic plan for Air NZ.
Here are the 5 questions he emailed to all staff:
1. What is the most important thing we could do to consistently improve our customer service?
2. Where does Air New Zealand waste money that could be better spent serving our customers?
3. What do you like most about the Air New Zealand culture that you want to preserve?
4. If you could change one thing about the culture, what would that be?
5. What opportunities do you see for us to grow our revenue and profitability?
A great approach to get insights that might sit deep in the organisation, and to create ownership among staff for the new plan before it even exists. Of note is also the focus on customer service and organisational culture.
When buying a ticket to an event no one is a fan of the fees ticketing platforms charge on top of the actual ticket prices. But what if this charge was used for charitable causes?
Humanitix is an events ticketing platform that does exactly that. They direct the profits made from ticket booking fees towards global education projects.
So far they say they have given more than $300,000 to their charity partners. Started in Australia, New Zealand is the first country they have expanded to. And they are not afraid to take on the big players in the ticketing market. Fittingly, they say that they learnt in their journey that the customer experience is right at the crux of being a successful company.
A great example of how initiatives for special needs benefit many more people:
One of New Zealand’s supermarket chains has introduced a low-sensory “quiet hour” nationwide. It is “easy on the eyes and ears by reducing noise, lighting and other distractions in-store” and has been developed with support of Autism New Zealand.
“The lovely thing about quiet hour is that we have had very positive feedback from so many customers. Our older customers seem to really enjoy quiet hours too, as well as many other Kiwis who actually just find shopping a bit stressful and can now visit at a more peaceful time.”