{"id":5045,"date":"2020-06-08T15:59:07","date_gmt":"2020-06-08T19:59:07","guid":{"rendered":"http:\/\/localhost\/osborne\/?p=5045"},"modified":"2021-12-23T07:05:21","modified_gmt":"2021-12-23T12:05:21","slug":"digital-performance-wheres-the-business-model","status":"publish","type":"post","link":"https:\/\/www.osborne-group.com\/fr\/digital-performance-wheres-the-business-model\/","title":{"rendered":"Digital Performance &#8211; Where\u2019s the Business Model?"},"content":{"rendered":"<p><span data-contrast=\"auto\">The outpouring of artistic expression during this international pandemic has been a wonderful entr\u00e9e into the arts for many millions of people stuck at home looking for entertainment and distraction. The surprising thing, I expect, for those who have now discovered the arts for the first time, is the ability of art to touch our deepest emotions as well as entertain us.\u00a0<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Galleries, museums, and the performing arts are experimenting way outside their conventions; with new forms of working together while apart, playing with myriad ways to use technology, stripping out the sets, costumes, and lighting, collaborating\u00a0<\/span><span data-contrast=\"auto\">across genres and artforms. Perhaps something new in the arts and culture environment is emerging. I\u00a0<\/span><span data-contrast=\"auto\">certainly\u00a0<\/span><span data-contrast=\"auto\">hope so.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Audiences have flocked to online museum and gallery websites. In France,\u00a0<\/span><span data-contrast=\"auto\">Paris\u2019 14 municipal museums, known collectively as\u00a0<\/span><span data-contrast=\"auto\">the\u00a0<\/span><span data-contrast=\"auto\">Paris\u00a0<\/span><span data-contrast=\"auto\">Mus\u00e9es<\/span><span data-contrast=\"auto\">,\u00a0<\/span><span data-contrast=\"auto\">are<\/span><span data-contrast=\"auto\">\u00a0focusing on interactivity and digital events which has driven a 33% increase in Twitter followers and more than 150% increase on Facebook.<\/span><span data-contrast=\"auto\"><sup>i<\/sup><\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">That\u2019s s<\/span><span data-contrast=\"auto\">pecta<\/span><span data-contrast=\"auto\">cular social media growth but with no associated revenue to offset the closure of all the museums for several months.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Here at home, the<\/span><span data-contrast=\"auto\">\u00a0performing arts\u00a0<\/span><span data-contrast=\"auto\">sector and\u00a0<\/span><span data-contrast=\"auto\">festivals (theatre, music,<\/span><span data-contrast=\"auto\">\u00a0opera,<\/span><span data-contrast=\"auto\">\u00a0and dance)\u00a0<\/span><span data-contrast=\"auto\">have\u00a0<\/span><span data-contrast=\"auto\">been closed for a month and are now\u00a0<\/span><span data-contrast=\"auto\">announc<\/span><span data-contrast=\"auto\">ing<\/span><span data-contrast=\"auto\">\u00a0the cancellation of\u00a0all of\u00a0their summer seasons<\/span><span data-contrast=\"auto\">; many\u00a0<\/span><span data-contrast=\"auto\">only\u00a0<\/span><span data-contrast=\"auto\">having\u00a0<\/span><span data-contrast=\"auto\">summer\u00a0<\/span><span data-contrast=\"auto\">seasons<\/span><span data-contrast=\"auto\">. They are scrambling to find alternative<\/span><span data-contrast=\"auto\">\u00a0virtual<\/span><span data-contrast=\"auto\">\u00a0ways to engage their audiences.<\/span><span data-contrast=\"auto\">\u00a0Stratf<\/span><span data-contrast=\"auto\">ord Festival was able to reorient much of its efforts towards digital projects once it had taken the decision to suspend indefinitely\u00a0<\/span><span data-contrast=\"auto\">its<\/span><span data-contrast=\"auto\">\u00a02020 season. The<\/span><span data-contrast=\"auto\">\u00a0company<\/span><span data-contrast=\"auto\">\u00a0had with foresight been making films of their Shakespeare productions and\u00a0<\/span><span data-contrast=\"auto\">ha<\/span><span data-contrast=\"auto\">ve<\/span><span data-contrast=\"auto\">\u00a0announced a 12-week online festival<\/span><span data-contrast=\"auto\">. They launched with\u00a0<\/span><span data-contrast=\"auto\">\u201cKing Lear\u201d starring Colm <\/span><span data-contrast=\"auto\">Feore<\/span><span data-contrast=\"auto\">\u00a0which has\u00a0<\/span><span data-contrast=\"auto\">more than 37,000 views on YouTube.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Stratford\u2019s situation is both the best and worst of scenarios. Very few performing arts companies in Canada have the res<\/span><span data-contrast=\"auto\">erves<\/span><span data-contrast=\"auto\"> to create a high-quality video of their works; even fewer began to build a repertoire years ago. Stratford also has the\u00a0<\/span><span data-contrast=\"auto\">star power and\u00a0<\/span><span data-contrast=\"auto\">technical expertise to launch the virtual festival in a fairly short timeframe. On the other hand, the virtual festival on\u00a0<\/span><span data-contrast=\"auto\">Y<\/span><span data-contrast=\"auto\">outube<\/span><span data-contrast=\"auto\">\u00a0is entirely free so<\/span><span data-contrast=\"auto\">,<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">despite those 37,000 viewers,\u00a0<\/span><span data-contrast=\"auto\">it is in no way able to contribute to Stratford\u2019s losses. Financial l<\/span><span data-contrast=\"auto\">oss to the\u00a0<\/span><span data-contrast=\"auto\">company<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">is expected to be in the range\u00a0<\/span><span data-contrast=\"auto\">of $40 million and the surrounding community<\/span><span data-contrast=\"auto\">\u00a0won\u2019t see it\u2019s\u00a0<\/span><span data-contrast=\"auto\">expected tourism boost of $135 million<\/span><span data-contrast=\"auto\">\u00a0either<\/span><span data-contrast=\"auto\">.<sup>ii<\/sup><\/span><\/p>\n<p><span data-contrast=\"auto\">The absence of a viable business model for digital\u00a0<\/span><span data-contrast=\"auto\">content<\/span><span data-contrast=\"auto\">\u00a0is not a new problem. Artists and arts and culture organizations have been struggling\u00a0<\/span><span data-contrast=\"auto\">to<\/span><span data-contrast=\"auto\">\u00a0creat<\/span><span data-contrast=\"auto\">e<\/span><span data-contrast=\"auto\">\u00a0viable business models for decades. Disruptive\u00a0<\/span><span data-contrast=\"auto\">content providers<\/span><span data-contrast=\"auto\">\u00a0like YouTube and\u00a0<\/span><span data-contrast=\"auto\">i<\/span><span data-contrast=\"auto\">Tunes\u00a0<\/span><span data-contrast=\"auto\">have contributed heavily to the\u00a0<\/span><span data-contrast=\"auto\">public\u00a0<\/span><span data-contrast=\"auto\">expectation that access to art will be free or at such a low cost that the revenues the creative sector used to receive<\/span><span data-contrast=\"auto\">\u00a0are all but decimated for the majority of creators and producers.<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">But artists are finding ways, in the words of the\u00a0<\/span><i><span data-contrast=\"auto\">New York Times\u2019<\/span><\/i><span data-contrast=\"auto\">\u00a0<\/span><a href=\"https:\/\/www.nytimes.com\/by\/ben-smith?campaign_id=158&amp;emc=edit_ot_20200526&amp;instance_id=18785&amp;nl=on-tech-with-shira-ovide&amp;regi_id=62760643&amp;segment_id=29190&amp;te=1&amp;user_id=20e87d78fb20e18dae3ba992d384da77\"><span data-contrast=\"none\">Ben Smith<\/span><\/a><span data-contrast=\"auto\">, to\u00a0<\/span><span data-contrast=\"auto\">\u201c<\/span><span data-contrast=\"auto\">monetize individuality<\/span><span data-contrast=\"auto\">\u201d<\/span><span data-contrast=\"auto\">.<\/span><span data-contrast=\"auto\"><sup>iii<\/sup><\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Platforms<\/span><span data-contrast=\"auto\">\u00a0like\u00a0<\/span><a href=\"https:\/\/substack.com\/\"><span data-contrast=\"none\">Substack<\/span><\/a><span data-contrast=\"auto\">,\u00a0<\/span><a href=\"https:\/\/medium.com\/\"><span data-contrast=\"none\">Medium<\/span><\/a><span data-contrast=\"auto\">,\u00a0<\/span><a href=\"https:\/\/www.patreon.com\/\"><span data-contrast=\"none\">Patreon<\/span><\/a><span data-contrast=\"auto\">,\u00a0<\/span><span data-contrast=\"auto\">and\u00a0<\/span><a href=\"https:\/\/www.cameo.com\/\"><span data-contrast=\"none\">Cameo<\/span><\/a><span data-contrast=\"auto\">, are allowing individual\u00a0<\/span><span data-contrast=\"auto\">artists<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">and writers\u00a0<\/span><span data-contrast=\"auto\">to find fans, and more critically, financial rewards.\u00a0<\/span><span data-contrast=\"auto\">Gradually, performing artists are moving into the same artist-led spaces and becoming less dependent on large organizations to promote and distribute their work.\u00a0<\/span><a href=\"https:\/\/sidedooraccess.com\/home\"><span data-contrast=\"none\">Side<\/span><span data-contrast=\"none\">d<\/span><span data-contrast=\"none\">oor<\/span><\/a><span data-contrast=\"auto\">\u00a0connect<\/span><span data-contrast=\"auto\">ed<\/span><span data-contrast=\"auto\">\u00a0artists and hosts for home concerts<\/span><span data-contrast=\"auto\">\u00a0until the coronavirus shutdown concerts<\/span><span data-contrast=\"auto\">. It has quickly pivoted to\u00a0<\/span><span data-contrast=\"auto\">presenting\u00a0<\/span><span data-contrast=\"auto\">ticketed online performances and has hosted artists such as Fred Penner, the Good Lovelies and Steven Page.\u00a0<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">There are thousands of experiments underway looking to overcome the technical, artistic, and sales and marketing challenges of digital performances.<\/span><span data-contrast=\"auto\">\u00a0With the usual creativity of the sector, the offerings are imaginative and\u00a0<\/span><span data-contrast=\"auto\">diverse.\u00a0<\/span><a href=\"http:\/\/www.theatrereplacement.org\/\"><span data-contrast=\"none\">Theatre Replacement<\/span><\/a><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">live-streamed<\/span><span data-contrast=\"auto\">\u00a0rather than cancelled,\u00a0<\/span><i><span data-contrast=\"auto\">M<\/span><\/i><i><span data-contrast=\"auto\">ine<\/span><\/i><span data-contrast=\"auto\">, a play about the real-life relationship between the playwright, her son, and the online game Minecraft.<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">Esprit Orchestra has announced\u00a0<\/span><a href=\"https:\/\/youtu.be\/bPSuuGmy4eU\"><span data-contrast=\"none\">Soundbite<\/span><\/a><span data-contrast=\"auto\">, excerpts from recent concerts.\u00a0<\/span><span data-contrast=\"auto\">The\u202f<\/span><a href=\"https:\/\/www.coc.ca\/VirtualChoir?utm_source=wordfly&amp;utm_medium=email&amp;utm_campaign=COCMediaRelease:VirtualChoir&amp;utm_content=version_A&amp;promo=\"><span data-contrast=\"none\">Canadian Opera Company\u202f<\/span><\/a><span data-contrast=\"auto\">is inviting the public to participate in\u00a0<\/span><span data-contrast=\"auto\">a<\/span><span data-contrast=\"auto\">\u00a0<\/span><span data-contrast=\"auto\">virtual choir<\/span><span data-contrast=\"auto\">\u00a0performance of the \u201cAnvil Chorus\u201d from Verdi\u2019s\u202f<\/span><i><span data-contrast=\"auto\">Il Trovatore.<\/span><\/i><span data-contrast=\"auto\">\u00a0These online performances will generate useful data about what audiences like and don\u2019t like. But the ticket revenue isn\u2019t there yet.\u00a0<\/span><span data-ccp-props=\"{}\">\u00a0<\/span><\/p>\n<p><span data-contrast=\"auto\">Will audiences respond not only with their time but also their wallets?\u00a0<\/span><span data-contrast=\"auto\">It is acutely urgent that the sector find answers<\/span><span data-contrast=\"auto\">\u00a0to\u00a0<\/span><span data-contrast=\"auto\">how to monetize virtual content\u00a0<\/span><span data-contrast=\"auto\">now. W<\/span><span data-contrast=\"auto\">hether it is using video streaming platforms<\/span><span data-contrast=\"auto\">\u00a0or\u00a0<\/span><span data-contrast=\"auto\">creating premium content only for donors, the opportunities are there for the next big ideas to emerge. Let\u2019s hope the sector gets the time and the support it needs to figure it out.<\/span><\/p>\n<hr \/>\n<p>i. Belmont, Sarah \u201cLockdown drives digital boom at French museums\u2014but where&#8217;s the business model?\u201d The Art Newspaper April 30, 2020.<\/p>\n<p>ii. Maga, Carly \u201cStratford Festival suspends 2020 season indefinitely due to COVID-19\u201d The Toronto Star, April 27, 2020.<\/p>\n<p>iii. Smith, Ben \u201cThe New Model Media Star Is Famous Only to You\u201d The New York Times, May 24, 2020<\/p>","protected":false},"excerpt":{"rendered":"<p>The outpouring of artistic expression during this international pandemic has been a wonderful entr\u00e9e into the arts for many millions of people stuck at home looking for entertainment and distraction. The surprising thing, I expect, for those who have now discovered the arts for the first time, is the ability of art to touch our [&hellip;]<\/p>\n","protected":false},"author":14,"featured_media":5048,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[3],"tags":[],"class_list":["post-5045","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-osborne-insights-blog"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Digital Performance - Where\u2019s the Business Model? - The Osborne Group<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.osborne-group.com\/fr\/digital-performance-wheres-the-business-model\/\" \/>\n<meta property=\"og:locale\" content=\"fr_CA\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Digital Performance - Where\u2019s the Business Model? - The Osborne Group\" \/>\n<meta property=\"og:description\" content=\"The outpouring of artistic expression during this international pandemic has been a wonderful entr\u00e9e into the arts for many millions of people stuck at home looking for entertainment and distraction. 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