10 free tools to help you understand your social media audience
https://buffer.com/resources/how-to-craft-the-perfect-post-on-facebook-twitter-and-instagram/
Creating a Customer Persona
Video guide: https://www.youtube.com/watch?v=DvV7ZcRVQ4g
Article: https://www.transcendstrategic.com/blog/2019/10/28/personas-and-designing-the-ideal-museum-experience
Exercise 1
Try mapping your thoughts with a flip chart/white board or Download the Persona Canvas https://www.revelx.co/canvases/persona-canvas/
Exploring the Customer Journey
Blog: https://blog.museunacional.cat/en/visitor-journey-mapping-walking-in-our-visitors-shoes/
PDF guide and template: https://engagingplaces.files.wordpress.com/2013/09/journey-mapping-for-arts-organisations-free.pdf
You Tube: https://www.youtube.com/watch?v=9HwpR3Njq00
CASE STUDIES
The Museum of English Rural Life is a small organisation with a big voice. Following the growing phenomenon of internet memes, which are very popular among Millennials and Digital Natives, the museum decided to adopt an ironic and irreverent tone of voice for their social media communication. In 2018, one of their Twitter posts became viral. A picture of a sheep was accompanied with a piece of copy that was highly unusual for the cultural heritage sector: “Look at this absolute unit”. As the museum had invested in understanding its audience, it hit the right note. The post generated hilarity and affection from the online audience, turning them into ambassadors for the museum brand.
The Cleveland Museum of Art has reached out to its audience by designing a new app called ArtLens. This app allows the visitor to plan and experience the visit before arriving, taking their planned tour with them on their smartphone when they do visit. The app not only helps them navigate, it maintains a connection with the visitor afterwards by allowing them to dip into their tour or create a new one. They can also engage playfully by matching their photos to museum exhibits. As Jane Alexander, the museum’s chief digital officer, explains they are targeting an audience which is not the standard cultural heritage visitor.
“We’re not competing with other museums. We’re competing with Netflix,”